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Composer: Luigi Boccherini
Artists: La Magnifica Comunitá, Enrico Casazza (violin and concert master)

The third part of the Boccherini string quintets performed by La Magnifica Communitá, containing the 6 quintets Op. 13 written in 1772. Delightful classical music which has been an example to many of Boccherini’s younger colleagues. He was one of the first to write for string quintet and the five parts are beautifully balanced.

The musicians of La Magnifica Communitá research their interpretations thoroughly. They perform Boccherini’s music in a pleasantly whole-hearted way, being both down to earth and airy.

00:00:00 Quintetto I In E Flat Major G. 277 : Maestoso
00:05:42 Quintetto I In E Flat Major G. 277 : Larghetto Con Espressione
00:09:27 Quintetto I In E Flat Major G. 277 : Minuetto: Allegro
00:13:35 Quintetto I In E Flat Major G. 277 : Presto
00:19:56 Quintetto Ii In C Major G. 279 : Allegro Maestoso
00:28:23 Quintetto Ii In C Major G. 279 : Larghetto
00:31:48 Quintetto Ii In C Major G. 279 : Presto
00:35:22 Quintetto Iii In F Major G. 279 : Prestissimo
00:41:58 Quintetto Iii In F Major G. 279 : Largo
00:47:49 Quintetto Iii In F Major G. 279 : Tempo Di Minuetto, Trio
00:51:17 Quintetto Iii In F Major G. 279 : Presto
00:55:37 Quintetto Iv In D Minor G. 280 : Allegro
01:04:39 Quintetto Iv In D Minor G. 280 : Andante Sostenuto
01:10:45 Quintetto Iv In D Minor G. 280 : Fuga (allegro Giusto)
01:14:52 Quintetto Iv In D Minor G. 280 : Andantino
01:20:34 Quintetto Iv In D Minor G. 280 : Allegro Giusto
01:25:54 Quintetto Iv In D Minor G. 280 : Presto Assai
01:29:47 Quintetto Vi In E Major G. 282 : Andante Sostenuto
01:33:02 Quintetto Vi In E Major G. 282 : Allegro Con Spirito
01:38:56 Quintetto Vi In E Major G. 282 : Minuetto
01:42:12 Quintetto Vi In E Major G. 282 : Rondeau, Allegro

Tracklist Below:
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Telemann wrote so much and so well for the flute with the understanding of one who knew the instrument from the inside. ‘How my heart beats,’ he wrote, ‘when I see the walls and corners of the room covered with musical instruments… Excellent instrumentalists have made me want to improve my performance on my instruments. I would have done so if an inner fire had spurred me beyond the keyboard, the violin and the flute, to learn the oboe, the chalumeau, the viola da gamba, or indeed the double bass and the bass trombone.’
In line with their earlier work on Vivaldi for Brilliant Classics (BC95078), Hanspeter Oggier and the Ensemble Fratres have now chosen to address the delectable feast of Telemann’s wonderfully joyous music. Meticulous in his work, alert and inventive, Telemann was a great colourist whose coherence and open mindedness enabled him to address the widest audience. The particular appeal of this collection is that the flute parts are taken by the pan-flute, which lend a rustic, sometimes insouciant colour to pairs of suites and concertos. In Telemann the prevalence of curiosity over perfectionism suggests the desire to produce works that were straightforward and accessible to all. There is no hint of superficiality in this approach, however: he sensitively assimilated both Italian and French musical languages as well as certain traditional Polish stylistic elements. These and other ingredients he accepted as simple, pliable mother tongues, without trying to adapt them to his native German idiom.

In the Baroque it was by no means uncommon for composers to freely transcribe and arrange their own works or works by others for a different instruments. Therefore, any present day attempt of alternative instrumentation should be viewed with respect and curiosity: the result counts. And what result we encounter on this new recording of Flute Concertos by Telemann transcribed for the Pan Flute! By turns dramatic and furious, sweet and beguiling: the pan flute has infinite colouristic qualities to do full justice to these master works. The pan flute in its present form originates from 17th century Rumania, mostly used as a folk music instrument. However the use of the pan flute in “classical” Baroque music is by no means an abomination. The improvisatory character, the organic way of tone production which is regulated by the intensity of the breath of the player suit the Baroque music particularly well! Exhilarating performances by Master Pan flutist Hanspeter Oggier and his Ensemble Fratres. They already recorded successfully flute concertos by Vivaldi for Brilliant Classics (BC95078). Extensive liner notes on the music and the instrument included.

00:00:00 Ouverture-Suite in A Minor, TWV 55:a2: I. Ouverture
00:10:37 Ouverture-Suite in A Minor, TWV 55:a2: II. Les plaisirs
00:14:09 Ouverture-Suite in A Minor, TWV 55:a2: III. Air à l’Italien
00:21:03 Ouverture-Suite in A Minor, TWV 55:a2: IV. Menuett I-II
00:24:55 Ouverture-Suite in A Minor, TWV 55:a2: V. Rejouissance
00:27:24 Ouverture-Suite in A Minor, TWV 55:a2: VI. Passepied I-II
00:28:59 Ouverture-Suite in A Minor, TWV 55:a2: VII. Polonoise
00:32:59 Flute Concerto in D Major, TWV 51:D2: I. Moderato
00:35:33 Flute Concerto in D Major, TWV 51:D2: II. Allegro
00:39:47 Flute Concerto in D Major, TWV 51:D2: III. Largo
00:43:22 Flute Concerto in D Major, TWV 51:D2: IV. Vivace
00:46:26 Ouverture-Suite in G Major, TWV 55:G2: I. Ouverture
00:51:34 Ouverture-Suite in G Major, TWV 55:G2: II. Courante
00:53:46 Ouverture-Suite in G Major, TWV 55:G2: III. Gavotte en rondeau
00:54:52 Ouverture-Suite in G Major, TWV 55:G2: IV. Branle
00:55:49 Ouverture-Suite in G Major, TWV 55:G2: V. Sarabande
00:57:37 Ouverture-Suite in G Major, TWV 55:G2: VI. Fantaisie
00:58:48 Ouverture-Suite in G Major, TWV 55:G2: VII. Menuet I-II
01:02:28 Ouverture-Suite in G Major, TWV 55:G2: VIII. Rossignol
01:04:25 Flute Concerto in G Major, TWV 51:G2: I. Andante
01:07:08 Flute Concerto in G Major, TWV 51:G2: II. Vivace
01:09:43 Flute Concerto in G Major, TWV 51:G2: III. Adagio
01:11:50 Flute Concerto in G Major, TWV 51:G2: IV. Allegro

Artist:
Hanspeter Oggier pan flute
Ensemble Fratres

Tracklist in the comment section:
TOP 50 Best Piano Classics For Kids

A wonderful selection of the most famous piano pieces written for children, by the great composers.

These charming and appealing pieces stimulate the imagination and brings you in the world of Fairy Tales (Grieg’s March of the Dwarfs, riding a wooden horse (Schumann’s Kinderszenen), playing in the snow (Debussy’Children’s Corner), and ending in a peaceful slumber of the Berceuse by Chopin.

Played by world renowned pianists Klára Würtz and Alexander Warenberg.

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Francesco Cilea may now be best remembered as a composer of durable, blood-and-thunder staples of the verismo operatic school such as Adriana Lecouvreur and L’Arlesiana, but he addressed himself to chamber and instrumental music at both the beginning and end of his long career. Conservative and unfailingly melodic as his chosen idiom was, it nonetheless evolved in the 66 years between student salon pieces such as the Tre piccoli pezzi of 1888 and the album-leaf of 1944.

There have been a few surveys of Cilea’s piano music on record, but none as complete as this new recording from Pier Paolo Vincenzi, who has already won critical praise on Brilliant Classics for recordings of piano rarities. A Diabelli Variations album (BC94836) gathered all the composers who had initially responded to the Viennese publisher’s request for variations on his little waltz together with the late masterpiece of variation form eventually devised by Beethoven. Vincenzi has also recorded the complete piano music of Richard Wagner (BC94450) which drew this notice from Fanfare magazine: ‘Vincenzi has the kind of sparkling, clear Italian touch one often associates with Benedetti, Michelangeli, or, more recently, Luisi. His playing alternates between seriousness and sensuality, drama and joy, and the listener is with him every step of the way… [His] performances are the recommended ones.

Composer Francesco Cilea
Artist

Pier Paolo Vincenzi piano
Marco Gaggini piano

00:00:00 Tre piccoli pezzi: I. Melodia
00:01:54 Tre piccoli pezzi: II. Serenata
00:04:13 Tre piccoli pezzi: III. Danza
00:06:28 Chanson du rouet, Op. 4
00:09:04 Canto del mattino, Op. 5
00:12:17 La petite coquette – Air de danse, Op. 9
00:15:01 C’est toi que j’aime – Impromptu à la mazurka, Op. 10
00:17:50 Aria campestre
00:19:19 Flatterie, Op. 11
00:21:38 Mazurka, Op. 14
00:24:17 Badinage, Op. 15
00:26:28 Berceuse, Op. 20
00:28:37 Notturno, Op. 22
00:32:12 Seconda danza, Op. 26
00:33:53 Trois petits morceaux, Op. 28: I. Loin dans la mer
00:36:32 Trois petits morceaux, Op. 28: II. Feuille d’album
00:38:51 Trois petits morceaux, Op. 28: III. Pensée espagnole
00:40:32 Tre pezzi, Op. 29: I. Romanza
00:43:40 Tre pezzi, Op. 29: II. Scherzino
00:46:11 Tre pezzi, Op. 29: III. Barzelletta
00:48:59 Gocce di rugiada, Op. 33
00:51:49 Au village, Op. 34
00:53:37 A la mazurka, Op. 35
00:55:02 Valzer, Op. 36
00:56:51 Foglio d’album, Op. 41
00:58:51 Suite, Op. 42: I. Allegro
01:00:54 Suite, Op. 42: II. Sarabanda
01:04:30 Suite, Op. 42: III. Capriccio
01:07:56 Foglio d’album, Op. 41
01:09:54 Fuga reale
01:12:10 Tre pezzi, Op. 43: I. Verrà?
01:15:09 Tre pezzi, Op. 43: II. Acque correnti
01:17:19 Tre pezzi, Op. 43: III. Valle fiorita
01:21:15 Due pezzi: I. Risonanze nostalgiche
01:29:24 Due pezzi: II. Festa silana
01:33:19 Scherzo
01:37:57 Scherzando
01:41:09 Danza calabrese
01:45:05 Impromptu
01:48:20 Mazurka
01:49:55 Preludio
01:51:32 Vespero
01:54:35 Foglio d’album
01:56:14 Invocazione
01:58:51 Serenata a dispetto
02:00:52 Danza
02:04:41 Four Hands Music: Untitled in A Major
02:08:12 Four Hands Music: Chansonnette, Op. 31
02:10:14 Four Hands Music: Sentiment poétique
02:12:33 Four Hands Music: Amour joyeux, Op. 37
02:15:27 Idillio
02:18:40 Alla gavotte

Tracklist below.
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The late 17th century was a golden age for the proliferation of organ music in Northern Germany. While J.S. Bach – alongside Buxtehude – may be the first name to come to mind when we consider composers of this period, more provincial towns were also surprisingly rich centres of music-making. The Husumer Orgelbuch of 1758 comprises a collection of works for organ from Husum, a coastal town situated at the tip of Germany. Organist Bendix Friedrich Zinck, whose life spanned the second half of the 18th century, chose 17 compositions for the organ to include in the collection, mostly made up of parts of old compositions. We have one example of an Adagio by Nicolaus Bruhns, also known to be active in Husum, though many years before Bendix. A more substantial body has survived of music by Druckenmüller, an almost exact contemporary of J.S. Bach. His compositions for organ are some of the first examples of the ‘Italian concerto’ style in northern Germany, a concerto with three movements (fast-slow-fast) resembling the Italian concerto grosso. Another remarkable feature of this manuscript is the fact that a vast majority of the works are original compositions rather than transcriptions – a novelty for organ music at this time, which more often involved arrangements of orchestral works, such as Bach’s transcriptions of Vivaldi or Walther’s of Torelli.

Italian organist Manuel Tomadin is an enthusiastic advocate of music of this period, having recently released a CD of the complete organ works of Druckenmüller alongside Daniel Erich and Georg Wilhelm Dietrich Saxer on Brilliant Classics. As always, he has carefully selected his performing instruments, choosing a Baroque organ by Arp Schnitger – the most important organ builder of this period, who worked closely with Druckenmüller – and an organ by Albertus Hinsz in Leens, one of the closest to the tradition of Schnitger. For lovers of Baroque organ music looking to explore outside the established canon of Bach, Buxtehude and Walther, this release represents an exciting opportunity to discover some of the wealth of music-making in Northern Germany during this period.

00:00:00 Praeludium in D Major
00:02:29 Chaconne in D Major
00:08:52 Concerto in A Major: I. Allegro
00:12:01 Concerto in A Major: II. Siciliana
00:13:21 Concerto in A Major: III. Vivace
00:16:34 Concerto in F Major: I. Allegro
00:18:34 Concerto in F Major: II. Adagio
00:20:08 Concerto in F Major: III. Vivace
00:22:38 Concerto in D Major: I. Allegro
00:25:51 Concerto in D Major: II. Largo
00:27:45 Concerto in D Major: III. Vivace
00:29:11 Concerto in G Major: I. Allegro
00:32:15 Concerto in G Major: II. Adagio
00:33:57 Concerto in G Major: III. Allegro
00:35:49 Fuge in D Major
00:39:34 Concerto in A Major: I. Allegro
00:41:11 Concerto in A Major: II. Adagio
00:43:04 Concerto in A Major: III. Vivace
00:45:30 Concerto in E Major: I. Allegro
00:48:10 Concerto in E Major: II. Adagio
00:49:30 Concerto in E Major: III. Vivace
00:51:40 Concerto in B Major: I. Allegro
00:53:33 Concerto in B Major: II. Siciliana
00:54:51 Concerto in B Major: III. Allegro
00:58:02 Praeludium in D Major
01:00:04 Fuge in D Major
01:01:29 Adagio in D Major
01:03:00 Chaconne in D Major
01:08:49 Adagio in D Major
01:11:57 Concerto in G Major: I. Allegro
01:14:03 Concerto in G Major: II. Adagio
01:16:05 Concerto in G Major: III. Allegro
01:19:18 Concerto in D Major: I. Allegro
01:21:13 Concerto in D Major: II. Adagio
01:22:51 Concerto in D Major: III. Largo
01:23:35 Concerto in D Major: IV Allegro
01:27:31 Concerto in A Minor: I. Preludio
01:28:53 Concerto in A Minor: II. Vivace
01:30:58 Concerto in A Minor: III. Adagio
01:32:56 Concerto in A Minor: IV Allegro
01:34:40 Concerto in D Minor: I. Allegro
01:36:53 Concerto in D Minor: II. Adagio
01:39:53 Concerto in D Minor: III. Vivace
01:41:18 Concerto in G Minor: I. Allegro
01:43:18 Concerto in G Minor: II. Affettuoso
01:45:45 Concerto in G Minor: III. Allegro fuga
01:48:57 Praeludium in C Minor
01:49:53 Fuge in C Minor
01:51:16 Allegro – Adagio in C Minor

Artist:
Manuel Tomadin (organ)

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Composer: Johann Sebastian Bach
Artists: Pieter-Jan Belder (harpsichord and organ)
Johannete Zomer (soprano)

An exciting recording by two fabulous Dutch musicians, harpsichordist Pieter-Jan Belder and soprano Johannette Zomer. These days soprano Zomer is making quite an impression on critics and audiences alike.

Bach’s small gem written for his second wife, Anna Magdalena contains pieces for solo keyboard and songs. Today they give the listener an insight into Bach’s domestic music making. This release presents not just the keyboard works. In eleven works the keyboard player is joined by a vocalist.

A delightful record with intimate and radiant performances.

00:00:00 Notebook for Anna Magdalena Bach: Menuet, BWV Anh. 113
00:01:28 Notebook for Anna Magdalena Bach: Menuet, BWV Anh. 114 (Arr. J.S. Bach)
00:02:54 Notebook for Anna Magdalena Bach: Menuet, BWV Anh. 115 (Arr. J.S. Bach)
00:04:24 Notebook for Anna Magdalena Bach: Rondeau, Les Bergeries, BWV Anh. 183 (Arr. J.S. Bach)
00:08:08 Notebook for Anna Magdalena Bach: Menuet, BWV Anh. 116
00:09:45 Notebook for Anna Magdalena Bach: Polonaise, BWV Anh. 117
00:11:38 Notebook for Anna Magdalena Bach: Menuet, BWV Anh. 118
00:12:53 Notebook for Anna Magdalena Bach: Polonaise, BWV Anh. 119
00:13:47 Notebook for Anna Magdalena Bach: Choral. Wer nur den lieben Gott lässt walten, BWV 691
00:15:17 Notebook for Anna Magdalena Bach: Gib dich zufrieden und sei stille, BWV 510
00:17:01 Notebook for Anna Magdalena Bach: Gib dich zufrieden und sei stille, BWV 511
00:18:25 Notebook for Anna Magdalena Bach: Gib dich zufrieden und sei stille, BWV 512
00:19:39 Notebook for Anna Magdalena Bach: Menuet, BWV Anh. 120
00:20:51 Notebook for Anna Magdalena Bach: Menuet, BWV Anh. 121
00:21:52 Notebook for Anna Magdalena Bach: Marche, BWV Anh. 122 (Arr. J.S. Bach)
00:22:52 Notebook for Anna Magdalena Bach: Polonaise, BWV Anh. 123 (Arr. J.S. Bach)
00:24:08 Notebook for Anna Magdalena Bach: Marche, BWV Anh. 124 (Arr. J.S. Bach)
00:25:31 Notebook for Anna Magdalena Bach: Polonaise, BWV Anh. 125 (Arr. J.S. Bach)
00:27:18 Notebook for Anna Magdalena Bach: Aria. So oft ich meine Tobackspfeife, BWV 515a
00:33:27 Notebook for Anna Magdalena Bach: Menuet, fait par Mons (Arr. J.S. Bach)
00:34:38 Notebook for Anna Magdalena Bach: Musette, BWV Anh. 126
00:35:41 Notebook for Anna Magdalena Bach: Marche, BWV Anh. 127
00:37:19 Notebook for Anna Magdalena Bach: Polonaise, BWV Anh. 128
00:38:47 Notebook for Anna Magdalena Bach: Bist du bei mir, BWV 508
00:41:27 Notebook for Anna Magdalena Bach: Aria, BWV 988 (Arr. J.S. Bach)
00:45:24 Notebook for Anna Magdalena Bach: Solo per il Cembalo, BWV Anh. 129 (Arr. J.S. Bach)
00:48:23 Notebook for Anna Magdalena Bach: Polonaise, BWV Anh. 130 (Arr. J.S. Bach)
00:50:16 Notebook for Anna Magdalena Bach: Präludium, BWV 846
00:52:57 Notebook for Anna Magdalena Bach: Without Title, BWV Anh. 131
00:53:44 Notebook for Anna Magdalena Bach: Aria. Warum betrübst du dich, BWV 516
00:55:33 Notebook for Anna Magdalena Bach: Recitative and Aria. Ich habe genug, BWV 82
01:03:58 Notebook for Anna Magdalena Bach: Schaff's mit mir, Gott, BWV 514
01:04:51 Notebook for Anna Magdalena Bach: Menuet, BWV Anh. 132
01:05:38 Notebook for Anna Magdalena Bach: Aria di Giovannini, BWV 518
01:08:08 Notebook for Anna Magdalena Bach: Choral. Dir, Dir, Jehova, will ich singen, BWV 299
01:09:26 Notebook for Anna Magdalena Bach: Wie wohl ist mir, o Freund der Seelen, BWV 517
01:10:38 Notebook for Anna Magdalena Bach: Aria. Gedenke doch, mein Geist, BWV 509
01:12:04 Notebook for Anna Magdalena Bach: O Ewigkeit, du Donnerwort, BWV 513

Tracklist below.
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The extraordinary Fitzwilliam Virginal Book is a fascinating document housed in the Fitzwilliam Library in Cambridge, UK. It was probably compiled by Francis Treggian in the early 17th century, while he sat in prison for refusing to renounce his Catholicism. Whatever its origins, the exceptional manuscript contains almost 300 pieces, including many by known Roman Catholic sympathisers. In this, the fourth volume of the series, Pieter-Jan Belder focuses on the works by Giles Farnaby and John Bull, with Farnaby being one of the few Protestants represented in the manuscript. It’s likely that the two composers knew each other, as there are a number of clear similarities between their two styles, and the keyboard figurations of the two composers are at times indistinguishable. For this reason, Pieter-Jan Belder decided to group the two composers together for this release. The harpsichord pieces vary from Pavans and Galliards to Fantasias and Maskes (short interludes), as well as transcriptions of and embellishments on traditional folk tunes. The release concludes with Bull’s Quadran Pavan and Galiard, probably the longest piece in the entire Fitzwilliam Virginal Book, with an extensive variation of the pavan followed by a galliard made up of three distinct and varied sections.

Pieter-Jan Belder is a prolific recording artist, with over 130 CD recordings to his name. This is the fourth volume in his acclaimed series of recordings from The Fitzwilliam Virginal Book, with the first praised by Fanfare, who said ‘this is one complete recording series that I want to see to completion’. Joined by his student Gerhard Boogaard for one track – who also built the Ruckers harpsichord featured on this disc – Belder tackles the diverse and complex world of Elizabethan harpsichord music with ease.

00:00:00 Farmers Pavan CCLXXXVII
00:05:41 Galliarda CCLXIX
00:07:18 Fantasia CCXXXVI
00:11:18 Mal sims CCLXXXI
00:12:52 Pavana XXXIX
00:17:19 Meridian Alman CCXCI
00:19:00 A Maske CXCVIII
00:21:31 Quodlings Delight CXIV
00:24:08 Fantasia CCXXXII
00:30:27 A Maske CCIX
00:32:07 Wooddy-Cock CXLI
00:38:23 Fantasia CCXXXVII
00:42:23 Giles Farnabys Dreame CXCIV
00:43:44 His Rest Galiard CXCV
00:44:35 Farnabyes Conceit CCLXXIII
00:45:28 His Humour CXCVI
00:46:58 Fantasia CCXXXI
00:50:10 Rosasolis CXLIII
00:52:40 Lachrimae Pavan CCXC
00:59:46 A Toye CCLXX
01:00:56 A Maske CXCIX
01:02:27 Tell mee Daphne CCLXXX
01:03:52 Loth to Depart CCXXX
01:07:16 For Two Virginals LV
01:08:25 Pavana of my L.[ord] Lumley XLI
01:12:39 Galliarda to my L.[ord] Lumley’s Pavan XI
01:15:00 Praeludium in A Minor, FWB CCX
01:15:43 Fantasia CVIII
01:20:12 Pavana CXXXVI
01:24:34 Galliarda CXXXVII
01:26:32 Pavana XXXIV
01:33:13 Galiard to the Pavan XXXV
01:35:04 Prelude CXCII
01:35:56 Ut re mi fa sol la LI
01:41:39 St Thomas Wake XXXVI
01:45:07 The Duke of Brunswicks Alman CXLII
01:46:39 Pipers Galiard CLXXXII
01:48:55 Variatio Ejusdem CLXXXIII
01:51:54 The Quadran Pavan XXXI
01:58:54 Variation of the Quadran Pavan XXXII
02:07:05 Galiard to the Quadran Pavan XXXIII

Composer: Richard Wagner
Artists: René Kollo (tenor), Ulrik Cold (bass), Theo Adam (bass),Gisela Schröter (contralto), Reid Bunger (baritone), Fred Teschler (bass), Rundfunkchor Leipzig, Rundfunkchor Berlin, Thomanerchor Leipzig, Rundfunk-Sinfonie-Orchester Leipzig, Herbert Kegel (conductor)

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Wagner’s most elusive and enigmatic opera, Parsifal has given scholars much to think about it since its premiere in 1882. A cryptic mixture of Christian, pagan and oriental elements, as well as containing some nods to the 19th-century writings of Schopenhauer, the opera follows the medieval legend of the knights of the Holy Grail. With their leader Amfortas gravely injured, the Knights are in trouble, and turn to the unlikely hero Parsifal to steal back the holy spear Amfortas possessed when he was seduced and stabbed by Klingsor, an embittered ex-knight. On the way, Parsifal must battle the temptations of the flower maidens and the manipulative Kundry – this in addition to him discovering more about his own past. Wagner’s last opera, Parsifal deals centrally with the theme of Mitleid, or compassion, a redemptive quality that is underlined by Wagner’s gloriously sublime score.

Featuring a stellar cast, this production was originally released in 1978 and has certainly stood the test of time. René Kollo takes the main role in a release that was lauded by Gramophone for its ‘highly distinguished’ singing and conducting ‘unusual in its swiftness and dramatic candour’. With a first-class supporting cast that includes Gisela Schröter as the devious Kundry and Theo Adam as the despairing Amfortas, this Parsifal marks a wonderful tribute to Wagner’s work of intense humanity.

This reissue of the 1975 live recording of Wagner’s Parsifal features a stellar cast: the great René Kollo in the title role, further Theo Adam, Gisela Schröter and Ulrik Cold, and the splendid Rundfunk-Sinfonie-Orchester Leipzig, conducted by Herbert Kegel, a specialist in late romantic repertoire.
First issued on Berlin Classics this historic recording received high praise for its “unusual swiftness and dramatic candour” (Gramophone) and the “highly distinguished” title role of Rene Kollo.

The tracklist can be found in the comments section below!

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The first complete recording based on the new Curci edition of the famous 20 Studies of the Spanish composer Fernando Sor (1778 - 1839) selected by Andrés Segovia and edited by Angelo Gilardino. Completely revisited in the timbres and colors of high value music for six strings belonging to the classical repertoire and of great interest to students and professionals.
A complete and innovative reading, carried out thanks to 'urtext' version, the latter the result of a comparison of minunzioso sources. It follows a synoptic reading of the two versions from which emerge in a transparent way the nature of the work of Segovia and creative teaching of a classical author that he read and interpreted in the light of his aesthetics and his ideal.
Composer: Fernando Sor
Artist: Cristiano Porqueddu (guitar)

00:00:00 Studio Op.6 n.8 (I)
00:02:29 Esercizio Op.35 n.13 (II)
00:03:23 Studio Op.6 n.2 (III)
00:04:44 Studio Op.6 n.1 (IV)
00:06:08 Esercizio Op.35 n.22 (V)
00:09:03 Esercizio Op.35 n.17 (VI)
00:10:48 Lezione Op.31 n.21 (VII)
00:12:54 Lezione Op.31 n.16 (VIII)
00:15:12 Lezione Op.31 n.20 (IX)
00:16:17 Lezione Op.31 n.19 (X)
00:18:02 Studio Op.6 n.3 (XI)
00:19:40 Studio Op.6 n.6 (XII)
00:21:26 Studio Op.6 n.9 (XIII)
00:24:40 Studio Op.6 n.12 (XIV)
00:30:57 Esercizio Op.35 n.16 (XV)
00:32:42 Studio Op.29 n.3 (XVI)
00:35:07 Studio Op.6 n.11 (XVII)
00:38:51 Studio Op.29 n.22 (XVIII)
00:43:34 Studio Op.29 n.13 (XIX)
00:48:20 Studio Op.29 n.17 (XX)

Composer: Edward Elgar, Frank Bridge, Ralph Vaughan Williams
Artist: Quink Vocal Ensemble

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Quink is the Netherlands’ premier solo vocal ensemble, founded in 1978, which has won a string of awards for its albums of motets, partsongs villancicos and more ranging over 500 years of music. Turning to the rich repertoire of late-19th and early-20th-century English and Irish music, Quink has made a complement to its previous recording of music by Vaughan Williams and Finzi, which received critical praise for its ‘technical elegance and fine spirit’ (BBC Music Magazine).

The madrigal found a home in Elizabethan England after its creation in mid-17th-century Italy with the works of Gibbons and many others, and survived longer there than in the rest of Europe, where it fell out of fashion in the 18th century. Nonetheless, the Victorian age saw a revival in what had become a neglected genre of consort work, and many glee clubs were formed to sing earlier work, as well as stimulating the composition of new ones such as are found here.

The title track is the last of Sir Charles Parry’s Six Modern Lyrics, but the previous five are little known and seldom recorded (the poem by Robert Bridges was also set by Britten’s teacher, Frank Bridge, and included here alongside one of several settings of Shakespeare, The Bee). The other extensive collection here is of E.J. Moeran’s Songs of Springtime, as buoyant and cheerful as their title suggests, yet curiously neglected. The selections of Vaughan Williams such as his Three Elizabethan Partsongs and Silence and Music are deservedly famous, and sung here with the elegance and freedom that comes more naturally to vocal consorts rather than chamber choirs however well-drilled.
 
This new recording by Dutch vocal ensemble Quink contains a delectable selection of English part songs, works by Vaughan Williams, Elgar, Bridge, Stanford, Moeran and Parry.
The music has that indelible English atmosphere of autumnal serenity and melancholy, evoking pastoral scenes of poignant beauty, where “time stands still”.
The booklet contains liner notes, biography and the complete sung texts.

00:00:00 3 Part-Songs, Op. 18: I. O Happy Eyes
00:02:52 3 Part-Songs, Op. 18: II. Love
00:05:18 Music, When Soft Voices Die, H.31
00:07:56 The Bee, H.110
00:09:19 Three Elizabethan Partsongs: I. Sweet Day
00:11:21 Three Elizabethan Partsongs: II. The Willow Song
00:13:42 Three Elizabethan Partsongs: III. O Mistress Mine
00:14:48 6 Irish Folksongs, Op. 78: III. At The Mid-Hour Of Night
00:17:16 6 Irish Folksongs, Op. 78: V. It Is Not the Tear
00:19:35 O Weary Hearts, H.92
00:23:36 Under the Greenwood Tree
00:25:00 The River-God’s Song
00:26:40 Spring, the Sweet Spring
00:28:15 Love Is A Sickness
00:31:35 Sigh No More, Ladies
00:33:07 Good Wine
00:34:34 To Daffodils
00:37:05 In Autumn, H.62
00:40:27 Love Is a Sickness
00:41:33 Fain Would I Change That Note
00:43:51 6 Elizabethan Pastorals: III. Shall We Go Dance
00:45:04 6 Irish Folksongs, Op. 78: I. O Breathe Not His Name
00:48:22 Silence And Music
00:53:49 6 Modern Lyrics: I. How Sweet the Answer
00:55:27 6 Modern Lyrics: II. Since Thou, O Fondest
00:57:49 6 Modern Lyrics: III. If I Had But Two Little Wings
00:59:55 6 Modern Lyrics: IV. There Rolls the Deep
01:02:22 6 Modern Lyrics: V. What Voice of Gladness
01:05:05 6 Modern Lyrics: VI. Music, When Soft Voices Die

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Artist: Klara Würtz
Franz Liszt:
00:00:00 Waldesrauschen
00:04:04 Gnomenreigen
00:06:49 Liebestraum No. 3 in A-Flat Major
00:11:09 Mephisto Waltz No. 1
00:22:27 Les jeux d’eaux à la Villa d’Este (From Années de Pèlerinage III)
Franz Schubert:
00:30:08 Impromptu in B-Flat Major, Op. 142: No. 3 “Rosamunde”
Robert Schumann:
00:41:21 Arabesque, Op. 18
Frédéric Chopin:
00:47:42 Ballade No. 1 in G Minor, Op. 23
00:56:11 Barcarolle in F-Sharp Major, Op. 60
Claude Debussy:
01:04:19 L’isle joyeuse
Serge Rachmaninoff: Piano Concerto No.2 in C minor Op. 18
01:10:03 Moderato
01:20:12 Adagio sostenuto
01:31:18 Allegro scherzando
Robert Schumann: Piano Concerto in A minor Op. 54
01:42:54 Allegro affetuoso
01:57:54 Intermezzo
02:03:11 Allegro vivace

Tracklist Below.

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Artist:
Raffaele La Ragione, Giacomo Enrico Ferrari

00:00:00 Serenata napoletana
00:06:01 Plenilunio
00:10:24 Serenatella
00:11:52 Suite for Mandolin and Piano: I. Cantabile
00:15:43 Suite for Mandolin and Piano: II. Intermezzo
00:17:35 Suite for Mandolin and Piano: III. Serenata
00:20:11 Serenata00:17:35
00:23:55 Serenata romantic
00:27:14 Nenia d’amore
00:32:10 Trois morceaux: I. Melodie
00:34:14 Trois morceaux: II. Barcarolle
00:37:26 Trois morceaux: III. Gavotte
00:40:20 Serenata napoletana
00:44:36 Mormorio d’amore
00:48:26 Serenata
00:51:53 Fantasia di concerto

Sadhguru responde una pregunta sobre trabajar duro y explica cómo, desafortunadamente, la sociedad piensa que el trabajo duro trae resultados. Él explica que lo importante es saber qué hacer en el momento indicado.

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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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Sadhguru explica que, en el proceso de volverse silencioso, cerrar la boca es solo mitad del trabajo. Los que están demasiado enamorados con su propio proceso de pensamiento solo estarán atrapados en un círculo de recuerdos reciclados.

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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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En la evolución, una columna vertical corresponde a un salto en la capacidad. Esta práctica sencilla mantiene a la columna sana y activa; y puede hacer maravillas.

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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.

Más videos y blogs en la página
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Das 3D Hintergrundvideo aus den 3D Shows.

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Le ha regalado un curioso libro con una dedicatoria original de Borges.

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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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Fue una obra de misericordia en homenaje a Madre Teresa, defensora de la vida.

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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.

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