Tracklist below.

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Composer: Luigi Boccherini
Artist: Virtuosi della Rotonda
Federico Guglielmo violin
Luigi Puxeddu cello

Luigi Boccherini spent his early life in the service of the authorities of his hometown of Lucca, in Tuscany, though his talent as a cellist and composer often saw him travel abroad with his family at this young age. Settling in Spain in 1770, he spent the next 15 years of his life in the service of the Infante Luis Antonio Jaime of Bourbon. The String Quintets Op.29 for two violins, viola and two cellos were composed for the Infante in 1779 and represent a peak in Boccherini’s output, both for the magic of their texture and their great formal freedom. They remained unpublished for several years, only printed posthumously by the Parisian publisher Pleyel in 1813. The presence of dance is a common feature of the Quintets, with examples of every kind bursting out unexpectedly, even in movements where it is not openly called for. Particularly striking in this regard is Boccherini’s way of disrupting a slow movement in order to leave space for the dance to follow to the point that, in the sixth and last quintet, the slow movement is reduced to a sad Prelude before the Goyescan finale. Performing these works are I Virtuosi della Rotonda, a chamber group founded by Luigi Puxeddu in 2002, made up of soloists and leaders of major Italian orchestras. Puxeddu has already released Boccherini’s String Quintets Op.18, with La Magnifica Comunità (BC93346), and his Complete Cello Sonatas (BC93784) on Brilliant Classics. The latter, the only complete recording in existence, was named Disc of the Month by Angelo Foletto in the Italian classical music magazine Suonare News and received five Diapasons in France, as well as being critically praised in American Record Guide and Classical Voice.
After a lapse of several years this set presents the continuation of a highly successful and popular series on Brilliant Classics: the string quintets by Boccherini! The String Quintet series, of which 15 CD’s have already been issued, brought to light many hidden treasures, masterworks of chamber music in pure Classical Style, brimming with vitality, wit and winning charm. The ensemble I Virtuosi delle Rotonda are basically the same as the previous ensemble La Magnifica Comunita, only the primarius is changed: early music specialist and pioneer Federico Guglielmo, a better and stronger advocate of this delicious music is hardly imaginable…

00:00:00 String Quintet No. 1 in D Major, G. 313: I. Andante moderato
00:08:04 String Quintet No. 1 in D Major, G. 313: II. Minuetto
00:11:54 String Quintet No. 1 in D Major, G. 313: III. Cantabile
00:18:19 String Quintet No. 1 in D Major, G. 313: IV. Finale. Allegro
00:23:42 String Quintet No. 2 in C Minor, G. 314: I. Allegro vivo
00:31:11 String Quintet No. 2 in C Minor, G. 314: II. Largo assai
00:33:19 String Quintet No. 2 in C Minor, G. 314: III. Minuetto
00:37:05 String Quintet No. 2 in C Minor, G. 314: IV. Fuga. Allegro giusto
00:42:11 String Quintet No. 3 in F Major, G. 315: I. Adagio
00:48:04 String Quintet No. 3 in F Major, G. 315: II. Allegro vivo
00:56:18 String Quintet No. 3 in F Major, G. 315: III. Andante lentarello
01:03:10 String Quintet No. 4 in A Major, G. 316: I. Allegro moderato
01:09:59 String Quintet No. 4 in A Major, G. 316: II. Minuetto
01:13:46 String Quintet No. 4 in A Major, G. 316: III. Largo cantabile
01:20:54 String Quintet No. 4 in A Major, G. 316: IV. Il ballo Tedesco. Presto
01:24:34 String Quintet No. 5 in E-Flat Major, G. 317: I. Allegro moderato
01:31:39 String Quintet No. 5 in E-Flat Major, G. 317: II. Minuetto
01:34:53 String Quintet No. 5 in E-Flat Major, G. 317: III. Andante lento
01:40:59 String Quintet No. 5 in E-Flat Major, G. 317: IV. Finale. Allegro assai
01:46:13 String Quintet No. 6 in G Minor, G. 318: I. Allegro moderato assai
01:53:53 String Quintet No. 6 in G Minor, G. 318: II. Minuetto
01:56:41 String Quintet No. 6 in G Minor, G. 318: III. Preludio. Adagio
01:59:09 String Quintet No. 6 in G Minor, G. 318: IV. Rondò. Allegro giusto

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Carl Czerny has yet to emerge fully from his established place in the shadow of Beethoven as principally a composer of punishing studies for young and developing pianists, but this release should help him on his way. The A minor Concerto Op.214 is a full-scale essay of early Romanticism, composed in Vienna in 1829, full of the technical challenges he understood so well but distinguished by moments of high drama, especially in the brilliant concluding Rondo.

A Rossinian influence comes to the fore in the concerto for two pianos Op.153 from four years earlier. It is as though Czerny conceived of this concerto as a way of testing the entire expressive potential of a piano entrusted to four hands. Ranging from almost imperceptible pianissimi to deafening fortissimo, the two pianists weave a tapestry of surprising complexity over the struts of the orchestral accompaniment.

If anything the works by Viotti are even less often encountered, but no less charming to the ear. The composer is well-known as a founder of the Italian virtuoso violin tradition – just a little before Paganini – but he was also a skilled pianist. David Boldrini has recorded here contemporaneous arrangements (probably not made by the composer) of a pair of Viotti’s violin concertos, No.19 and No.9, in which parts of the solo violin part survive as an important concertante element.
This 2 CD set contains some seldom heard early 19th century concertos in which the piano plays the leading role.
Carl Czerny, a famous pianist and teacher, student of Beethoven, wrote an immense oeuvre for the piano, in which his prodigious technique could be shown to the greatest advantage. This recording features a Piano Concerto in A minor and a Concerto for Piano 4-hands: good tunes, brilliant pianism: highly attractive!
Giovanni Viotti made world fame as a violinist, his many concertos for this instrument are standard repertoire. Viotti arranged one of his most famous concertos, the G minor, for piano solo and orchestra. Also featured is the double concerto for piano, violin and orchestra in A major.
Played with obvious zest and “Spielfreude” by David Boldrini as soloist, the Rami Musicali Orchestra is conducted by Massimo Belli.

Tracklist:
00:00:00 Piano Concerto No. 1 in A Minor, Op. 214: I. Allegro moderato
00:16:34 Piano Concerto No. 1 in A Minor, Op. 214: II. Adagio con moto
00:20:43 Piano Concerto No. 1 in A Minor, Op. 214: Rondo, allegro con anima
00:32:16 Concerto No. 19 in G Minor: I. Maestoso e grandioso
00:49:27 Concerto No. 19 in G Minor: II. Andante sostenuto
00:57:59 Concerto No. 19 in G Minor: III. Allegretto con moto
01:09:16 Concerto for Piano 4 Hands and Orchestra in C Major, Op. 153: I. Allegro con brio
01:21:36 Concerto for Piano 4 Hands and Orchestra in C Major, Op. 153: II. Adagio espressivo
01:28:51 Concerto for Piano 4 Hands and Orchestra in C Major, Op. 153: III. Rondo alla polacca, Vivace
01:41:25 Violin Concerto No. 3 in A Major, WI:9: I. Allegro
01:51:47 Violin Concerto No. 3 in A Major, WI:9: II. Rondo, allegro

Artist:
David Boldrini piano
Rami Musicali Orchestra
Massimo Bell conductor

Tracklist below.
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‘My compositions take shape without any predetermined plan and are, as it were, the reflection of a quest for an unknown goal.’ Simeon ten Holt

The Dutch composer Simeon ten Holt (b.1923) began his career immersed in the intricacies and innovations of serialism, exploring what he described as ‘the semantics of musical language’ in an endeavour to expand his musical expression. However, in 1970 he abandoned the complex twelve-note technique that had been the standard since the Second World War, and returned to sounds and patterns that were easier for the ear to understand. In doing so, he created a unique Dutch minimalist style, using simple triads, shifting rhythmic patterns and repetition.

Canto Ostinato, scored for four grand pianos, is the quintessential example of Ten Holt’s groundbreaking minimalist style, one of his most well-known and critically-acclaimed compositions. Constructed using short cells that can be repeated an indeterminate number of times by performers, the music is hypnotic and emotionally moving, taking listeners on a journey through musical landscapes. With an expert performance by Piano Ensemble, a group that includes a number of specialists in minimalism, this recording is authoritative, complex yet accessible, and an essential addition to the collection of anyone interested in minimalism.
00:00:00 Canto Ostinato, Part I: Section 1
00:03:54 Canto Ostinato, Part I: Section 5
00:08:09 Canto Ostinato, Part I: Section 10
00:13:30 Canto Ostinato, Part I: Section 14
00:22:12 Canto Ostinato, Part I: Section 20
00:30:23 Canto Ostinato, Part I: Section 25
00:37:25 Canto Ostinato, Part I: Section 35
00:42:44 Canto Ostinato, Part I: Section 41
00:50:32 Canto Ostinato, Part I: Section 56
00:54:31 Canto Ostinato, Part I: Section 60
00:55:41 Canto Ostinato, Part I: Section 69
00:59:52 Canto Ostinato, Part I: Theme I, Section 74
01:05:04 Canto Ostinato, Part I: Section 78
01:08:27 Canto Ostinato, Part I: Section 83
01:14:50 Canto Ostinato, Part II: Section 88 A
01:22:22 Canto Ostinato, Part II: Section 88 B
01:31:06 Canto Ostinato, Part II: Section 88 E
01:36:53 Canto Ostinato, Part II: Section 88 F
01:45:37 Canto Ostinato, Part II: Section 88 C
01:52:04 Canto Ostinato, Part II: Section 89
01:54:42 Canto Ostinato, Part II: Section 91 A
01:57:25 Canto Ostinato, Part II: Section 91 C
02:01:43 Canto Ostinato, Part II: Section 91 E
02:09:43 Canto Ostinato, Part II: Section 92
02:11:15 Canto Ostinato, Part II: Theme II, Section 95
02:16:13 Canto Ostinato, Part II: Section 97
02:20:03 Canto Ostinato, Part II: Section 105
02:21:46 Canto Ostinato, Part II: Section 106

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Composer & Artist:
Composer: Alfredo Casella
Artist: Michele d’Ambrosio piano

About this Album:
Alfredo Casella is considered to be the leading representative of the generazione dell’ottanta (generation of the ‘80s): a group of Italian composers born around 1880, including Ottorino Respighi, Ildebrando Pizzetti, Gian Francesco Malipiero, Giorgio Gedini and Franco Alfano, who sought to prove that there was far more to Italian music than opera and concentrated primarily on orchestral, chamber and instrumental music. Casella was a controversial and often misunderstood figure – much has been made of his connections with fascism and his decision to remain in Italy under Mussolini – but he was probably just a staunch Italian nationalist who passionately believed in bringing his country’s glorious musical heritage to the fore (he was largely responsible for the rediscovery of Vivaldi’s music in the 20th century).

This 3CD set brings together Casella’s complete works for solo piano. Spanning a period of over 40 years, the collection charts the development of Casella’s musical language, aesthetic views and pianism (he was also an accomplished pianist and conductor). He entered the Paris Conservatoire in 1896 and studied under Fauré, and his early works reflect the influence of his teacher and that of Debussy, whom Casella greatly admired. Works from his middle period – such as the Op.24 Pezzi and the Op.28 Sonatina and the atmospheric and, for Casella, unusually romantic musical poem A notte alta show the composer in much more daring mode, experimenting with form, harmony and all kinds of pianistic techniques. Eventually, in later works such as the Pezzi infantili and Sinfonia, arioso e toccata, Casella reached what he called ‘a more creative stage that is well-defined and clear’, deftly assimilating aspects of the Italian Baroque music that he loved so much in order to find a unique, contemporary voice.

Tracklist:
The tracklist can be found in the comments!

#Classical #BrilliantClassics #Music #Composer #ClassicalMusic #Casella #ClassicalPianoMusic #Piano

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Artist:Camerata Bachiensis, Julia Kirchner (soprano)

Johann Melchior Molter (1696-1765) was a younger contemporary of J.S. Bach. The two composers were born in small Thuringian towns half a day’s ride away from each other, and then travelled farther afield to make their names in major cities: Bach, south to Leipzig, Molter north to Karlsruhe.
The quantity of Molter’s extant music as well as its relative simplicity preclude more detailed comparison with the Kapellmeister of Leipzig, but he deserves to be known for a great deal more than the odd trumpet concerto which has made his name as part of the repertoires of (for example) Maurice Andre, Ludwig Guttler and John Wallace. This album valuably redresses that balance of neglect with historically informed studio recordings of vocal and chamber music which reveal a surprisingly cosmopolitan, vivacious and inventive personality in music. Most of these works are either hitherto unrecorded or long unavailable in any other version. Thus the album is essential listening for Baroque aficionados.
Johann Melchior Molter was born in 1696 in Thüringen, where his musical talent was quickly recognised. He served in the orchestra at the court of Karlsruhe. Later he broadened his horizon by going to Italy, where he encountered Albinoni, Vivaldi and Alessandro Scarlatti. He imbued their melodious gifts, studied their instrumental skills and went home to Karlsruhe, where he spent the rest of his life as court composer.
Molter’s works are festive and ceremonial, a happy mix of German counterpoint, Italian brilliance and French grandeur.
This new recording presents an attractive variety of orchestral works and cantatas: a Symphony, an Overture, a Flute Concerto and Oboe Sonata, combined with two Italian secular cantatas, dealing with the vicissitudes of love.
Performed on period instruments by the Camerata Bachiensis, soprano Julia Kirchner and Roberto De Franceschi, playing the oboe and traverso.
Excellent liner notes in both English and German.

00:00:00 Sinfonia in D Major, MWV 7.24: I. —
00:01:57 Sinfonia in D Major, MWV 7.24: II. Andante
00:06:08 Sinfonia in D Major, MWV 7.24: III. —
00:09:44 Cantata in G Major, MWV 2.26: I. Aria “In petto ho un certo affanno”
00:16:43 Cantata in G Major, MWV 2.26: II. Recitativo “Ardo tacita amante”
00:17:56 Cantata in G Major, MWV 2.26: III. Aria “L’adorar beltà che piace”
00:23:54 Concerto in A Major, MWV 6.13: I. —
00:28:01 Concerto in A Major, MWV 6.13: II. Adagio
00:32:06 Concerto in A Major, MWV 6.13: III. —
00:35:05 Sonata à quadro in F Major, MWV 9.20: I. Allegro
00:37:10 Sonata à quadro in F Major, MWV 9.20: II. Largo
00:40:15 Sonata à quadro in F Major, MWV 9.20: III. Allegro
00:42:11 Overture in B-Flat Major, MWV 3.7: I. Overture
00:46:44 Overture in B-Flat Major, MWV 3.7: II. Paisan. Viste
00:48:22 Overture in B-Flat Major, MWV 3.7: III. Passecaille
00:51:13 Overture in B-Flat Major, MWV 3.7: IV. Menuet
00:52:30 Cantata in E-Flat Major, MWV 2.25: I. Aria “Care erbette amiche piante”
01:00:16 Cantata in E-Flat Major, MWV 2.25: II. Recitativo “Dilettissimo tirso”
01:01:05 Cantata in E-Flat Major, MWV 2.25: III. Aria “Colle ninfe e coi pastori”

Composer: Richard Wagner
Artists: Dietrich Fischer-Dieskau (The Dutchman), Gottlob Frick Daland (Norwegian sea captain), Fritz Wunderlich (Daland’s steersman), Marianne Schech (Senta, Daland’s daughter), Chor der Deutschen Staatsoper Berlin, Staatskapelle Berlin, Franz Konwitschny (conductor)

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One of the greatest and most revolutionary composers of the nineteenth century, Richard Wagner transformed the realm of musical drama. Years before his towering successes of the Ring Cycle, Tristan und Isolde and Die Meistersinger von Nürnberg, he wrote the now lesser-performed The Flying Dutchman, an opera that marks the beginning of Wagner’s mature works.
The opera – premiered in Dresden in 1843 – is based on Heinrich Heine’s telling of the legend in which the captain of a ghostly vessel, The Flying Dutchman, is doomed to roam the seas for all eternity until he wins the love of a woman. The fate of the Dutchman is said to have struck Wagner as a mirror image of his own disastrous fate in Paris; having expected the city to hail him as a genius, he was left bitterly disappointed. From the outset, the overture depicts the vast expanse of the rolling sea and hints at the despair that is to come, while weaving together other leitmotifs that will reoccur later in the work. Other highlights include Senta’s heartfelt ballad from Act II, the Dutchman’s soliloquy ‘Die Frist ist um’ and the raucous shanty that is the Sailors’ Chorus.
The role of the Dutchman is sung by legendary lyric baritone Dietrich Fischer-Dieskau, described by The Guardian as ‘the most influential singer of the 20th century’. Playing his love interest, Senta, is Marianne Schech, while Gottlob Frick takes the role of her father. The soloists are supported by the Chor der deutschen Staatsoper Berlin and the Staatskapelle Berlin, conducted by Franz Konwitschny.

00:00:00 Der Fliegende Hollander: Overture (Orchestra)
00:11:29 Der Fliegende Hollander: Act 1: No. 1: Introduction: Hojohe! Hallojo! (Chorus/Daland/Steersman)
00:16:57 Der Fliegende Hollander: Act 1: Song: Mit Gewitter und Sturm aus fernem Meer (Steersman)
00:21:50 Der Fliegende Hollander: Act 1: No. 2: Aria: Die Frist ist um (Dutchman/Chorus)
00:33:28 Der Fliegende Hollander: Act 1: No. 3: Scene, Duet and Chorus: He! Holla! Steuermann! (Daland/Steersman)
00:35:13 Der Fliegende Hollander: Act 1: Duet: Weit komm’ ich her (Dutchman/Daland)
00:50:00 Der Fliegende Hollander: Act 1: Chorus: Hohohe! Halloho! (Chorus)
00:53:41 Der Fliegende Hollander: Act 2: Introduction (Orchestra)
00:54:27 Der Fliegende Hollander: Act 2: No. 4: Scene, Song and Ballad: Summ und brumm, du gutes Rädchen (Girls/Mary/Senta)
01:02:45 Der Fliegende Hollander: Act 2: Ballad: Johohoe!… Traft ihr das Schiff im Meere an (Senta)
01:13:07 Der Fliegende Hollander: Act 2: No. 5: Duet (Erik/Senta)(Part I)
01:13:53 Der Fliegende Hollander: Act 2: No. 5: Duet (Part II): Mein Herz, voll Treue bis zum Sterben (Erik/Senta)
01:25:35 Der Fliegende Hollander: Act 2: No. 6: Finale: Mein Kind, du siehst mich auf der Schwelle (Daland/Senta)
01:27:20 Der Fliegende Hollander: Act 2: Aria: Mögst du, mein Kind, den fremden Mann (Daland)
01:33:42 Der Fliegende Hollander: Act 2: Duet: Wie aus der Ferne längst vergangner Zeiten (Dutchman/Senta)
01:48:50 Der Fliegende Hollander: Act 2: Trio: Verzeiht! Mein Volk hält draußen sich nicht mehr (Daland/Senta/Dutchman)
01:51:05 Der Fliegende Hollander: Act 3: Introduction (Orchestra)
01:51:55 Der Fliegende Hollander: Act 3: No. 7: Scene and Chorus: Steuermann, laß die Wacht! (Chorus/Steersman)
02:06:20 Der Fliegende Hollander: Act 3: No. 8: Finale: Was muß ich hören! Gott, was muß ich sehn! (Erik/Senta)
02:08:54 Der Fliegende Hollander: Act 3: Cavatina: Willst jenes Tags du nicht dich mehr entsinnen (Erik)
02:11:54 Der Fliegende Hollander: Act 3: Verloren! Ach, verloren! (Dutchman/Erik/Senta/Daland/Mary/Chorus)

Tracklist below.

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Parisian composer Georges Bizet was enrolled in the Consevatoire at the age of nine and won a premier prix in solfège within six months of his arrival. He later received prizes for his skill as a pianist, gaining particular renown for his sight-reading, and won the coveted Prix de Rome in 1857. At this time, opera theatres in Paris were reluctant to stage new works rather than the established classics, meaning that Bizet’s operas did not achieve much success during his lifetime, despite the fact that today two of his operas are considered among the best ever written.

The premiere of Les Pêcheurs de Perles took place in 1863 and the opera was brought back to Paris in 1889 at the Exposition Universelle of that year. The story, set in Ceylon (known today as Sri Lanka), centres on the love between the priestess Léïla and the fisherman Nadir, who is envied by his fellow fisherman and friend Zurga. The idea of the ‘exotic’ is a prominent feature of the opera and can be heard in the unusual instruments of the percussion section, the dance rhythms, and the use of the harp. The qualities of the ‘exotic’ evoked here are more similar to those of the Mediterranean than of Ceylon, although it is known from Bizet’s letters that his original inspiration for the setting was Mexico. The opera contains the famous friendship duet, ‘Au fond du temple saint’, known as the Pearl Fishers’ Duet.

00:00:00 Les Pécheurs de Perles: Prelude
00:01:53 Les Pécheurs de Perles: Act 1: Introduction: Sur la grève en feu (Chorus)
00:05:24 Les Pécheurs de Perles: Act 1: Scène et choeur: Amis, interrompez vos danses (Zurga/Chorus/Nadir)
00:09:15 Les Pécheurs de Perles: Act 1: Récit et reprise du choeur dansé: Demeure parmi nous, Nadir (Zurga/Chorus/Nadir)
00:11:25 Les Pécheurs de Perles: Act 1: Récit et duo: C’est toi, toi qu’enfin je revois! (Zurga/Nadir)
00:13:46 Les Pécheurs de Perles: Act 1: Duo: Au fond du temple saint (Zurga/Nadir)
00:18:59 Les Pécheurs de Perles: Act 1: Récit, choeur et scène: Que vois-je? (Zurga/Nadir/Chorus)
00:22:34 Les Pécheurs de Perles: Act 1: Choeur: C’est elle! Elle vient!…Sois la bienvenue (Chorus)
00:24:38 Les Pécheurs de Perles: Act 1: Scène et choeur: Seule au milieu de nous (Zurga/Léïla/Chorus/Nourabad)
00:31:41 Les Pécheurs de Perles: Act 1: Récit et romance: À cette voix… Je crois entendre encore (Nadir)
00:36:59 Les Pécheurs de Perles: Act 1: Final: Le ciel est bleu! (Chorus/Nourabad/Nadir)
00:38:55 Les Pécheurs de Perles: Act 1: Air et choeur: Ô Dieu Brahma! (Léïla/Chorus/Nadir)
00:44:52 Les Pécheurs de Perles: Act 2: Entr’acte, choeur et scène: La, la, la…L’ombre descend des cieux (Chorus/Léïla/Nourabad)
00:51:46 Les Pécheurs de Perles: Act 2: Récit et cavatine: Me voilà seule dans la nuit (Léïla)
00:59:15 Les Pécheurs de Perles: Act 2: Chanson: De mon amie (Nadir/Léïla)
01:01:14 Les Pécheurs de Perles: Act 2: Duo: Léïla!…Dieu puissant (Nadir/Léïla)
01:09:02 Les Pécheurs de Perles: Act 2: Final: Ah! revenez à la raison! (Léïla/Nadir/Nourabad/Chorus/Zurga)
01:18:24 Les Pécheurs de Perles: Act 3: Scene 1: Entr’acte, récit et air: L’orage s’est calmé…Ô Nadir (Zurga)
01:24:17 Les Pécheurs de Perles: Act 3: Scene 1: Scène et duo: Qu’ai-je vu?… Je frémis, je chancelle (Zurga/Léïla)
01:32:47 Les Pécheurs de Perles: Act 3: Scene 1: Scène: Entends au loin ce bruit de fête! (Nourabad/Léïla/Zurga)
01:34:29 Les Pécheurs de Perles: Act 3: Scene 2: Choeur dansé: Dès que le soleil (Chorus)
01:36:35 Les Pécheurs de Perles: Act 3: Scene 2: Scène et choeur: Sombres divinités (Nourabad/Chorus/Zurga/Léïla/Nadir)
01:39:32 Les Pécheurs de Perles: Act 3: Scene 2: Trio: Ô lumière sainte (Léïla/Nadir/Zurga)
01:40:55 Les Pécheurs de Perles: Act 3: Scene 2: Final: Ce sont eux, les voici! (Zurga/Nadir/Léïla/Nourabad/Chorus)

Composer: Claudio Monteverdi
Artist: Le Nuove Musiche
Krijn Koetsveld (artistic leader)

Tracklist below.

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Le Nuove Musiche, led by acclaimed director Krijn Koetsveld, continue with their exceptional series of Claudio Monteverdi’s complete madrigals. Following on from Books V & VI (BC93799), and Book VII (BC94980), released in December 2015, they turn their attention to Books III & IV. At this stage of Monteverdi’s career, he was at a turning point, something that comes across quite clearly in his compositions. In the more traditional works, he gives a clear nod to his teacher Marc’Antonio Ingegneri, as he demonstrates his ability to write in the declamatory Renaissance style. Where Monteverdi sets himself apart, however, is when he demonstrates his ability to match the tender lyrics to sound. O come è gran martire, ‘O what suffering it is’, is a perfect illustration of this, as the mournfully drawn-out ‘O’ immediately captures the listener’s attention, forcing us to appreciate the lover’s lament. He repeats this device in Vattene pur crudel, when Armida’s distressed cry of loneliness soars above the other lines: her rage at having been abandoned by her lover consumes the piece. Monteverdi straddles the Renaissance and the Baroque, and this comes to the fore especially in these two exciting books of madrigals.

Le Nuove Musiche’s approach to Monteverdi is an innovative one: to bring the past into the present, keeping alive the questions of the Renaissance that still permeate our musical landscape today, while seeking to maintain the highest standards of performance authenticity. Their release of Books V & VI garnered excellent reviews, including five stars in the French magazine Diapason.

00:00:00 Madrigals, Book 3, SV 60-74: La giovinetta pianta, SV 60
00:03:18 Madrigals, Book 3, SV 60-74: O come è gran martire, SV 61
00:06:14 Madrigals, Book 3, SV 60-74: Sovra tenere erbette e bianchi fiori, SV 62
00:09:21 Madrigals, Book 3, SV 60-74: O dolce anima mia, dunque è pur vero, SV 63
00:12:43 Madrigals, Book 3, SV 60-74: Stracciami pur il core,SV 64
00:16:06 Madrigals, Book 3, SV 60-74: O rossignuol che in queste verdi fronde, SV 65
00:20:04 Madrigals, Book 3, SV 60-74: Se per estremo ardore, SV 66
00:23:08 Madrigals, Book 3, SV 60-74: Vattene pur, crudel, con quella pace, SV 67
00:25:11Madrigals, Book 3, SV 60-74: Là tra ’l sangue e le morti egro giacente, SV 67
00:27:37 Madrigals, Book 3, SV 60-74: Poi ch’ella in sé tornò, deserto e muto, SV 65
00:30:38 Madrigals, Book 3, SV 60-74: O primavera, gioventú de l’anno, SV 68
00:33:21 Madrigals, Book 3, SV 60-74: Perfidissimo volto, SV 69
00:36:44 Madrigals, Book 3, SV 60-74: Ch’io non t’ami, cor mio, SV 70
00:40:26 Madrigals, Book 3, SV 60-74: Occhi, un tempo mia vita, SV 71
00:43:17 Madrigals, Book 3, SV 60-74: Vivrò fra i miei tormenti e le mie cure, SV 72
00:44:57 Madrigals, Book 3, SV 60-74: Ma dove, o lasso me, dove restaro, SV 72
00:47:36 Madrigals, Book 3, SV 60-74: Io pur verrò là dove sete, e voi, SV 72
00:49:54 Madrigals, Book 3, SV 60-74: Lumi, miei cari lumi, SV 73
00:52:20 Madrigals, Book 3, SV 60-74: Rimanti in pace, SV 74
00:55:50 Madrigals, Book 3, SV 60-74: Ond’ei di morte la sua faccia impressa, SV 74
00:59:22 Madrigals, Book 4, SV 75-93: Ah dolente partita, SV 75
01:02:52 Madrigals, Book 4, SV 75-93: Cor mio, mentre vi miro, SV 76
01:04:45 Madrigals, Book 4, SV 75-93: Cor mio, non mori? E mori, SV 77
01:07:19 Madrigals, Book 4, SV 75-93: Sfogava con le stelle, SV 78
01:10:00 Madrigals, Book 4, SV 75-93: Volgea l’anima mia soavemente, SV 79
01:13:07 Madrigals, Book 4, SV 75-93: Anima mia, perdona, SV 80a
01:15:37 Madrigals, Book 4, SV 75-93: Che se tu se’ il cor mio, SV 80b
01:17:59 Madrigals, Book 4, SV 75-93: Luci serene e chiare, SV 81
01:21:05 Madrigals, Book 4, SV 75-93: La piaga c’ho nel core, SV 82
01:23:03 Madrigals, Book 4, SV 75-93: Voi pur da me partite, anima dura, SV 83
01:26:10 Madrigals, Book 4, SV 75-93: A un giro sol de bell’occhi lucent, SV 84
01:28:33 Madrigals, Book 4, SV 75-93: Ohimé, se tanto amate, SV 85
01:30:53 Madrigals, Book 4, SV 75-93: Io mi son giovinetta, SV 86
01:33:33 Madrigals, Book 4, SV 75-93: Quell’augellin che canta, SV 87
01:35:52 Madrigals, Book 4, SV 75-93: Non piú guerra, pietate, SV 88
01:38:23 Madrigals, Book 4, SV 75-93: Sí ch’io vorrei morire, SV 89
01:41:20 Madrigals, Book 4, SV 75-93: Anima dolorosa che vivendo, SV 90
01:43:49 Madrigals, Book 4, SV 75-93: Anima del cor mio, SV 91
01:45:53 Madrigals, Book 4, SV 75-93: Longe da te, cor mio, SV 92
01:48:01 Madrigals, Book 4, SV 75-93: Piagne e sospira, SV 93

Tracklist below.

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This ingeniously programmed conceptalbum contains no original music by Paisiello but rather presents a selection of works which take as their inspiration his best‐known aria. ‘Nel cor più non mi sento’ is a duet from his 1788 opera L'amor contrastato, ossia La molinara – generally referred to as La molinara and, in an intriguing twist of history, translated in to German as Die schöne Müllerin. But in fact Schubert is one of the few noted variationcomposers absent here. Paganini’s later set of variations is a staple of the virtuoso‐violin repertoire, but this enterprising trio of musicians have looked to lesser‐known treatments of the duet, which attained great popularity on account of its simple but winning melody, so suitable for elaboration. Bortolazzi was well-known in his day as a superb mandolin player, and composed prodigiously for his instrument just as Mauro Giuliani did for the guitar, with an intimate understanding of its technical and expressive possibilities. Wanhal’s variations were originally composed for a melody instrument such as violin or flute, but it has been arranged specially for the trio here. Beethoven’s piano‐only variation set is relatively well‐known and has been recorded many times, but the smaller works for mandolin and fortepiano are no less engaging and have received little attention: this period-instrument performance almost has the field to itself. Michael Salka plays an original 1820 Böhm fortepiano, Alon Sariel an 1850 mandolin and Izhar Elias a Guadagnini guitar from 1812, less than two decades after the works recorded here were composed. This fascinating release is completed by Hummel’s ‘Grande Sonata’ for mandolin and piano and an extensive Potpourri for guitar and piano.
Composer: Johann Nepomuk Hummel, Ludwig van Beethoven
Artist: Izhar Elias (guitar)
Alon Sariel (mandolin)
Michael Tsalka (fortepiano)
00:00:00 Variations in G Major on Paisiello’s “nel cor più non mi sento”, Op. 8
00:06:45 Grand Sonata in C Major, Op. 37a: I. Allegro con spirit
00:12:47 Grand Sonata in C Major, Op. 37a: II. Andante moderato siziliano
00:16:06 Grand Sonata in C Major, Op. 37a: III. Rondo. Allegretto più tosto allegro
00:20:31 Introduction and Variations in A Major on Paisiello’s “nel cor più non mi sento”, Op.113
00:30:31 Polonaise Allegro in A Major, Op. 113
00:39:26 Andante with Variations in D Major, WoO 44b
00:48:11 Sonatina in C Minor, WoO 43a
00:52:03 Sonatina in C Major, WoO 44a
00:54:46 6 Variations in G Major on Paisiello’s “nel cor più non mi sento”, WoO 70
01:01:34 Pot-pourri for Guitar and Piano, Op. 53
01:12:47 6 Variations in G Major on Paisiello’s “nel cor più non mi sento”, Op. 42

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Composer Francesco Paolo Tosti
Artist Romina Casucci soprano, Maura Menghini soprano, Marco Scolastra piano , Mark Milhofer tenor, Roberto Rupo pianoforte

The start of a new exciting series: the complete songs by Paolo Tosti!

Tracklist in the comments.

Tracklist below.

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The most famous scion of a musical family which stretched across at least ten generations, Johann Sebastian Bach had a very strong sense of history, tradition, and his evolving place in it, and was instrumental in curating and adding to the library of the music of the Bachs, which was known as the Altbachisches Archiv. This archive mostly comprises vocal music; now the Italian organist has created a fascinating instrumental counterpart, with short organ works by ten members of the family ranging from Heinrich Bach (1615–1692) to Wilhelm Friedemann Ernst Bach (1779–1845). And so, during the course of the disc, we move, always guided by the constraints of Protestant thought and liturgy, through austere low Baroque chorales to spectacular, late-Classical fantasias.


00:00:00 Chorale ‘Erbarm dich mein, o Herre Gott’ (Psalm 51)
00:02:45 Prelude and Fugue in E-Flat Major: I. Prelude
00:04:15 Prelude and Fugue in E-Flat Major: II. Fuge
00:07:11 Chorale ‘Wenn mein Stündlein vorhanden ist’
00:09:01 Partita on ‘Du Friedefürst, Herr Jesu Christ’: I. Chorale I
00:10:28 Partita on ‘Du Friedefürst, Herr Jesu Christ’: II. Variation I
00:11:35 Partita on ‘Du Friedefürst, Herr Jesu Christ’: III.Chorale II
00:12:34 Partita on ‘Du Friedefürst, Herr Jesu Christ’: IV. Variation II
00:13:41 Partita on ‘Du Friedefürst, Herr Jesu Christ’: V. Chorale III
00:14:40 Fugue in D Major
00:19:27 Fugue in C Minor
00:23:00 Rondo in G Major
00:28:17 Fantasy and Fugue in F Major: I. Fantasy
00:31:31 Fantasy and Fugue in F Major: II. Fugue
00:35:00 Prelude in E Minor
00:35:58 Fugue on the Letters of the Name BACH
00:41:40 Toccata in C Major

Maha Annadanam se ofrece durante la noche de celebración de Mahashivratri a los cientos de miles de devotos que asisten al festival en el Isha Yoga Center. Esta no es simplemente una ofrenda de sustento físico, es una distribución de prasadam de las manos dispuestas de los voluntarios.

Dona en India: https://bit.ly/2CYEMvF

Dona en el extranjero: https://bit.ly/2Dq5s9a

Para más detalles: annadanam@mahashivarathri.org o visita: https://bit.ly/2SFAcct

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El Papa Francisco visitó a las Hermanas pobres de Santa Clara que viven en el mismo lugar en el que la santa de Asís fundó la Orden. El Papa recordó que las religiosas de clausura deben caracterizarse por su alegría y su humanidad.

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11 de febrero, 2016. Claves para comprender el encuentro del Papa Francisco con el Patriarca Kiril
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Nella's messenger falcon accidentally delivers some confusing invitations for Clod's birthday party.

For more Nick Jr. activities and games visit : http://www.nickjr.co.uk/

Sing about all the different animals, from the giant elephants and whales to the tiny ants and spiders! Learn new things about so many animals with your favorite Nick Jr. friends from Dora the Explorer and the Bubble Guppies! Sing-along and dance to these five new songs, and imagine all the animals you can see in the world!

Doe je favoriete kostuum aan en bereid je voor op de Halloweendans! Zing mee met de Bubble Guppies en verzamel zoveel snoep als je kunt!

Zet je masker maar op vandaag
Kies dan een mooi kostuum en vraag
Of er in de buurt nog iemand snoepjes voor je heeft
Bel maar aan
Bel maar aan
Met een groep
Met een groep
Dan krijg je van de buren vast lekker snoep
Bel maar aan
Bel maar aan
Met een groep
Met een groep
Luister hoe ik ""snoep of je leven"" roep
Oooo…
Bel maar aan
Bel maar aan
Met een groep
Met een groep
Dan krijg je van de buren vast lekker snoep
Bel maar aan
Bel maar aan
Met een groep
Met een groep
Luister hoe ik ""snoep of je leven"" roep
Oooo…
""Daar sta je voor de deur of in de gang
Dan word je toch misschien een beetje bang
Je weet niet wat de dag in petto heeft, nee""
""O, wat is dat allemaal?
Steek je hand maar in de schaal
Dan grijp je en dan zoek je
Een zuurtje of een koekje""
Zeg ""dank u wel"", da's beleefd - o yeah
Bel maar aan
Bel maar aan
Met een groep
Met een groep
Dan krijg je van de buren vast lekker snoep
Bel maar aan
Bel maar aan
Met een groep
Met een groep
Luister hoe ik ""snoep of je leven"" roep
Oooo…

Canciones del Abecedario para Niños – Canción ABCD en el Parque Acuático del Alfabeto – Canciones de Fonética & Canciones Infantiles

TRES GATITOS Canciones infantiles en Español