I hooked up with Jade at Saramonic who showed me the SR-VM1 XLR plug-on adapter for XLR microphones. It records directly to the unit and simply plugs into the back of a reporter mic, or even a shotgun mic allowing you to get rid of those XLR cables once and for all. There's also a transmitter which looks exactly the same but instead of a recording card, transmits the signal to their UWMIC9 receiver which is the same model used for their wireless lapel systems. I will be reviewing this unit soon, as I'd love to get rid of the XLR cables and the bulky recorder hanging off my camera. This unit is less than half the price of comparable Rode units, and these folks are just plain nice. They are available now and the links are below.


Saramonic wireless recorder and transmitters:
——————————————————————————————————

Saramonic SR-VRM1 - Plug-on Recorder for XLR Microphones

Amazon: https://amzn.to/2qxw5mO
B&H: https://bhpho.to/2Hzr8RY



Saramonic TX-XLR9 - Plug-on Wireless XLR Transmitter for UWMIC9 System

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B&H: https://bhpho.to/2H2kqCK



Saramonic UWMIC9 (RX9+XLR9) Wireless Mic System

Amazon: https://amzn.to/2H0E0zo
B&H: https://bhpho.to/2H137lM



The TASCAM DR-10X recorder of Dave's I joked with him about

Amazon: https://amzn.to/2ELttGt
B&H: https://bhpho.to/2H0DvVX


Check out filmmaker training courses here:
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Amazon:

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Zoom H6: https://amzn.to/2HxHcn3
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B&H:

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Canon 50mm: https://bhpho.to/2HzkoDE
Rode NTG-3: https://bhpho.to/2HxxL75
Zoom H6: https://bhpho.to/2Hz3nJx
Aputure Tri-8 Kit: https://bhpho.to/2H0IHJk


More gear at https://www.kit.com/basicfilmmaker


Intro and Music Credits
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Intro by Kevin Anson: http://bit.ly/EmoticonToolkktKevinAnson

Music by Premium Beat: http://bit.ly/PremiumBeatMusic


Connect with me here:
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Copyright (c) 2018 by The Basic Filmmaker

Note that some of these links are affiliate links and help keep the channel going. Thanks for your support, as it really helps offset the costs! #basicfilmmaker #filmmaking #videos

Occurred to me many new and beginning filmmakers and photographers don't know what these QR Plates are (also called rapid connect), and just how freakin AWESOME they are! http://bit.ly/SubscribeToBasicFilmmaker

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Cheap Camera Remote:
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Credits
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Note that some of these links are affiliate links and help keep the channel going. Thanks for your support, as it really helps offset the costs!

Tracklist below.
Spotify: https://open.spotify.com/album..../0fZenqZ92lyulZ1S5rB
Physical sale: http://brilliantclassics.com/a....rticles/v/vivaldi-ma
iTunes: https://itunes.apple.com/album..../vivaldi-mandolin-lu

The mandolin was essentially the instrument of amateur musicians in the early to mid 18th century. Vivaldi composed many concertos and trios for the young ladies of the Ospiedale della Pieta – including the famous G major RV532, which must rank as one of his most popular works after the Four Seasons.
The concertos and trios on this CD make a delightful programme, written for the pleasure of gifted students and patrons, full of the hallmarks of Vivaldian style that will not disappoint those who love the famous Four Seasons violin concertos from his Op.8 set. Simple, catchy melodies abound, in both still and often poignant slow movements as well as sparky fast movements.
Other information:
- Recording made in 2009.
- Frederico Gugliemo studied with Salvatore Accardo, Isaac Stern and The Amadeus, LaSalle and Quartetto Italiano string quartets before turning to period instrument performance under the guidance of Christopher Hogwood.
00:00:00 Concerto for 2 mandolins, strings and continuo in G Major RV 532
00:03:54 Concerto for 2 mandolins, strings and continuo in G Major RV 532
00:08:15 Concerto for 2 mandolins, strings and continuo in G Major RV 532
00:11:48 Concerto for mandolin, strings and continuo in C Major RV 425
00:14:26 Concerto for mandolin, strings and continuo in C Major RV 425
00:17:44 Concerto for mandolin, strings and continuo in C Major RV 425
00:19:57 Trio for Violin, lute and basso in g Minor RV 85
00:24:00 Trio for Violin, lute and basso in g Minor RV 85
00:27:01 Trio for Violin, lute and basso in g Minor RV 85
00:28:53 Concerto for 2 Violin, lute and basso in D Major RV 93
00:32:22 Concerto for 2 Violin, lute and basso in D Major RV 93
00:36:33 Concerto for 2 Violin, lute and basso in D Major RV 93
00:38:44 Trio for Violin, lute and basso in C Major RV 82
00:42:51 Trio for Violin, lute and basso in C Major RV 82
00:45:54 Trio for Violin, lute and basso in C Major RV 82
00:47:52 Concerto for Viola d’amore, lute, strings and basso in d Minor RV 540
00:53:13 Concerto for Viola d’amore, lute, strings and basso in d Minor RV 540
00:56:15 Concerto for Viola d’amore, lute, strings and basso in d Minor RV 540
00:59:47 Concerto for harpsichord, strings and continuo in A Major RV 780
01:03:30 Concerto for harpsichord, strings and continuo in A Major RV 780
01:05:40 Concerto for harpsichord, strings and continuo in A Major RV 780

Artist:
L'Arte dell'Arco
Federico Guglielmo (conductor)

Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play and more):
https://brilliant-classics.lnk.....to/AlbinoniOboeConc

String instruments and especially the violin demanded a key position in Baroque music particularly in Italy. Like many of his contemporaries Tomaso Albinoni composed a large number of pieces for string ensemble and many concertos for the violin.

00:00:00 Concerto a cinque, Op. 9/2: D Minor for Solo Oboe and Strings: Allegro non presto
00:03:43 Concerto a cinque, Op. 9/2: D Minor for Solo Oboe and Strings: Adagio
00:07:57 Concerto a cinque, Op. 9/2: D Minor for Solo Oboe and Strings: Allegro
00:10:48 Concerto, Op. 7/2: C Major for two Oboes and Strings: Allegro
00:12:49 Concerto, Op. 7/2: C Major for two Oboes and Strings: Adagio
00:13:49 Concerto, Op. 7/2: C Major for two Oboes and Strings: Allegro
00:15:40 Concerto, Op. 7/6: D Major for Oboe Solo and Strings: Allego
00:18:21 Concerto, Op. 7/6: D Major for Oboe Solo and Strings: Adagio
00:20:01 Concerto, Op. 7/6: D Major for Oboe Solo and Strings: Allegro
00:22:15 Concerto à 5, Op. 9/9: C Major for two Oboes and Strings: Allegro
00:26:15 Concerto à 5, Op. 9/9: C Major for two Oboes and Strings: Adagio
00:28:45 Concerto à 5, Op. 9/9: C Major for two Oboes and Strings: Allegro
00:32:14 Concerto, Op. 7/8: D Major for two Oboes and Strings: (no tempo)
00:34:32 Concerto, Op. 7/8: D Major for two Oboes and Strings: Largo
00:36:30 Concerto, Op. 7/8: D Major for two Oboes and Strings: Allegro
00:38:16 Concerto à 5, Op. 9/5: C Major for Oboe and Strings: Allegro
00:41:36 Concerto à 5, Op. 9/5: C Major for Oboe and Strings: Adagio
00:43:33 Concerto à 5, Op. 9/5: C Major for Oboe and Strings: Allegro
00:46:42 Concerto, Op. 7/3: B-Flat Major for Oboe Solo and Strings: Allegro
00:49:29 Concerto, Op. 7/3: B-Flat Major for Oboe Solo and Strings: Adagio
00:51:32 Concerto, Op. 7/3: B-Flat Major for Oboe Solo and Strings: Allegro
00:53:45 Concerto, Op. 9/3: F Major for two Oboes and Strings: Allegro
00:58:15 Concerto, Op. 9/3: F Major for two Oboes and Strings: Adagio
01:00:29 Concerto, Op. 9/3: F Major for two Oboes and Strings: Allegro
01:04:25 Concerto à 5, Op. 9/11: B-Flat Major for Oboe and Strings: Allegro
01:08:28 Concerto à 5, Op. 9/11: B-Flat Major for Oboe and Strings: Adagio
01:11:08 Concerto à 5, Op. 9/11: B-Flat Major for Oboe and Strings: Allegro
01:14:28 Concerto, Op. 7/11: C Major for two Oboes and Strings: Allegro
01:17:15 Concerto, Op. 7/11: C Major for two Oboes and Strings: Adagio
01:19:06 Concerto, Op. 7/11: C Major for two Oboes and Strings: Allegro
01:21:42 Concerto à 5, Op. 9/8: G Minor for Oboe Solo and Strings: Allegro
01:25:43 Concerto à 5, Op. 9/8: G Minor for Oboe Solo and Strings: Adagio
01:27:49 Concerto à 5, Op. 9/8: G Minor for Oboe Solo and Strings: Allegro
01:31:27 Concerto, Op. 7/5: C Major for two Oboes and Strings: Allegro
01:33:19 Concerto, Op. 7/5: C Major for two Oboes and Strings: Adagio
01:34:48 Concerto, Op. 7/5: C Major for two Oboes and Strings: Allegro
01:36:09 Concerto, Op. 7/9: F Major for Oboe Solo and Strings: Allegro
01:38:39 Concerto, Op. 7/9: F Major for Oboe Solo and Strings: Adagio
01:39:36 Concerto, Op. 7/9: F Major for Oboe Solo and Strings: Allegro
01:41:59 Concerto à 5, Op. 9/6: G Major for two Oboes and Strings: Allegro
01:45:36 Concerto à 5, Op. 9/6: G Major for two Oboes and Strings: Adagio
01:47:59 Concerto à 5, Op. 9/6: G Major for two Oboes and Strings: Allegro
01:51:00 Concerto, Op. 7/12: C Major for two Oboes and Strings: Allegro
01:53:56 Concerto, Op. 7/12: C Major for two Oboes and Strings: Adagio
01:55:55 Concerto, Op. 7/12: C Major for two Oboes and Strings: Allegro
01:58:07 Concerto, Op. 9/12: D Major for two Oboes and Strings: Allegro
02:01:16 Concerto, Op. 9/12: D Major for two Oboes and Strings: Adagio
02:03:26 Concerto, Op. 9/12: D Major for two Oboes and Strings: Allegro
02:04:56 Concerto for Violin and Strings, Op. 9/1: B-Flat Major: Allegro
02:08:09 Concerto for Violin and Strings, Op. 9/1: B-Flat Major: Adagio
02:09:55 Concerto for Violin and Strings, Op. 9/1: B-Flat Major: Allegro
02:12:23 Concerto, Op. 9/10 in F Major for Violin and Strings: Allegro
02:15:52 Concerto, Op. 9/10 in F Major for Violin and Strings: Adagio
02:19:15 Concerto, Op. 9/10 in F Major for Violin and Strings: Allegro
02:22:44 Concerto, Op. 9/7: D Major for Violin and Strings: Allegro
02:26:14 Concerto, Op. 9/7: D Major for Violin and Strings: Andante e sempre piano
02:33:51 Concerto, Op. 9/7: D Major for Violin and Strings: Allegro
02:36:32 Concerto, Op. 9/4: A Major for Violin and Strings: Allegro
02:39:58 Concerto, Op. 9/4: A Major for Violin and Strings: Adagio
02:42:16 Concerto, Op. 9/4: A Major for Violin and Strings: Allegro

Artist:
Stefan Schilli (oboe)
Stuttgart Chamber Orchestra

Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer):
https://brilliant-classics.lnk.to/VivaldiConcertos
Physical purchase:
http://brilliantclassics.com/a....rticles/v/vivaldi-le

Composer: Antonio Vivaldi
Artist: L'Arte dell'arco, Federico Guglielmo (conductor)

Antonio Vivaldi was one of the most successful composers of the Baroque era, best known for his iconic set concertos for violin, The Four Seasons. L’Estro Armonico Op.3 is among the most important printed editions of Vivaldi’s concertos; the works immediately met with great acclaim after their publication in 1711. Indeed, this was the first collection of concerti to be published with a title, showing that the composer himself was aware of the nature of this extraordinary event. The work was originally dedicated to Prince Ferdinando de’ Medici, son and heir of Cosimo III, Grand Duke of Tuscany. L’Arte dell’Arco is an internationally renowned ensemble that has achieved great acclaim through performances and recordings.
After the iconic ‘Le Quattro Stagioni’, the collection of 12 violin concertos Op. 3, ‘L’Estro Armonico’ is the most popular and well known of all of Vivaldi’s works. It is vintage Vivaldi: lively, exuberant and brilliant allegros, spun‐out cantilenas in Italian ‘belcanto’ style, and a general feel of Italian passion and good humour. Violinist Federico Guglielmo is one of Italy’s foremost fiddlers, a pioneer of Early Music Performance Practice, a bon vivant understanding the secrets of Vivaldi’s language like few others. Played from the New Vivaldi Edition as published by the Istituto Italiano Antonio Vivaldi and the Fondazione Giorgio Cini.

00:00:00 12 Concertos, Op. 3, Concerto No. 10 in B Minor, RV 580: I. Allegro
00:03:17 12 Concertos, Op. 3, Concerto No. 10 in B Minor, RV 580: II. Largo
00:04:09 12 Concertos, Op. 3, Concerto No. 10 in B Minor, RV 580: III. Larghetto – Adagio – Largo
00:05:42 12 Concertos, Op. 3, Concerto No. 10 in B Minor, RV 580: IV. Allegro
00:08:34 12 Concertos, Op. 3, Concerto No. 1 in D Major, RV 549: I. Allegro
00:11:33 12 Concertos, Op. 3, Concerto No. 1 in D Major, RV 549: II. Largo e spiccato
00:13:38 12 Concertos, Op. 3, Concerto No. 1 in D Major, RV 549: III. Allegro
00:16:01 12 Concertos, Op. 3, Concerto No. 5 in A Major, RV 519: I. Allegro
00:18:45 12 Concertos, Op. 3, Concerto No. 5 in A Major, RV 519: II. Largo
00:20:22 12 Concertos, Op. 3, Concerto No. 5 in A Major, RV 519: III. Allegro
00:22:48 12 Concertos, Op. 3, Concerto No. 7 in F Major, RV 567: I. Andante
00:25:15 12 Concertos, Op. 3, Concerto No. 7 in F Major, RV 567: II. Adagio
00:26:09 12 Concertos, Op. 3, Concerto No. 7 in F Major, RV 567: III. Allegro
00:28:31 12 Concertos, Op. 3, Concerto No. 7 in F Major, RV 567: IV. Adagio – Allegro
00:30:46 12 Concertos, Op. 3, Concerto No. 8 in A Minor, RV 522: I. Allegro
00:34:02 12 Concertos, Op. 3, Concerto No. 8 in A Minor, RV 522: II. Larghetto e spiritoso
00:37:18 12 Concertos, Op. 3, Concerto No. 8 in A Minor, RV 522: III. Allegro
00:40:17 12 Concertos, Op. 3, Concerto No. 4 in E minor, RV 550: I. Andante
00:42:14 12 Concertos, Op. 3, Concerto No. 4 in E minor, RV 550: II. Allegro assai
00:44:19 12 Concertos, Op. 3, Concerto No. 4 in E minor, RV 550: III. Adagio – Allegro

00:46:57 12 Concertos, Op. 3, Concerto No. 9 in D Major, RV 230: I. Allegro
00:49:03 12 Concertos, Op. 3, Concerto No. 9 in D Major, RV 230: II. Larghetto
00:52:37 12 Concertos, Op. 3, Concerto No. 9 in D Major, RV 230: III. Allegro
00:54:36 12 Concertos, Op. 3, Concerto No. 2 in G Minor, RV 578: I. Adagio e spiccato
00:55:59 12 Concertos, Op. 3, Concerto No. 2 in G Minor, RV 578: II. Allegro
00:58:15 12 Concertos, Op. 3, Concerto No. 2 in G Minor, RV 578: III. Larghetto
01:00:18 12 Concertos, Op. 3, Concerto No. 2 in G Minor, RV 578: IV. Allegro
01:03:01 12 Concertos, Op. 3, Concerto No. 12 in E Major, RV 265: I. Allegro
01:06:20 12 Concertos, Op. 3, Concerto No. 12 in E Major, RV 265: II. Largo
01:09:40 12 Concertos, Op. 3, Concerto No. 12 in E Major, RV 265: III. Allegro
01:12:22 12 Concertos, Op. 3, Concerto No. 6 in A Minor, RV 356: I. Allegro
01:15:03 12 Concertos, Op. 3, Concerto No. 6 in A Minor, RV 356: II. Largo
01:16:58 12 Concertos, Op. 3, Concerto No. 6 in A Minor, RV 356: III. Presto
01:19:22 12 Concertos, Op. 3, Concerto No. 11 in D Minor, RV 565: I. Allegro
01:20:02 12 Concertos, Op. 3, Concerto No. 11 in D Minor, RV 565: II. Adagio e spiccato – Allegro – Adagio
01:23:16 12 Concertos, Op. 3, Concerto No. 11 in D Minor, RV 565: III. Largo e spiccato
01:25:39 12 Concertos, Op. 3, Concerto No. 11 in D Minor, RV 565: IV. Allegro
01:28:01 12 Concertos, Op. 3, Concerto No. 3 in G Major, RV 310: I. Allegro
01:30:03 12 Concertos, Op. 3, Concerto No. 3 in G Major, RV 310: II. Largo
01:32:11 12 Concertos, Op. 3, Concerto No. 3 in G Major, RV 310: III. Allegro

Tracklist below.

Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play): https://brilliant-classics.lnk.....to/PaganiniViolinCo
More Information: https://www.brilliantclassics.....com/articles/p/pagan
Brilliant Classics Spotify: https://open.spotify.com/user/....brilliantclassics?si
Brilliant Classics Facebook: https://www.facebook.com/brilliantclassics

Among the most revered virtuosos of all time, Nicolò Paganini was a true musical legend of his era, inspiring musicians such as Robert Schumann to forge his own career as a pianist. Franz Schubert was also a regular audience member at Paganini’s concerts, despite the outlandish ticket prices.

Paganini often remarked that, despite his legendary status as a violinist, he found it rather difficult to compose for the instrument. This release presents Paganini's complete violin concertos, performed by violinist Alexandre Dubach accompanied by the Orchestre Philharmonique de Monte-Carlo.

Composer:
Nicolò Paganini

Artist:
Alexandre Dubach (violin)
Orchestre Philharmonique de Monte-Carlo
Michel Sasson (conductor)
Lawrence Foster (conductor)

00:00:00 Violin Concerto No. 4 in D Minor: I. Allegro maestoso
00:16:44 Violin Concerto No. 4 in D Minor: II. Adagio flebile con sentimento
00:23:25 Violin Concerto No. 4 in D Minor: III. Rondo galante. Andantino gaio
00:34:10 Violin Concerto No. 1 in D Major, Op. 6: I. Allegro maestoso
00:54:15 Violin Concerto No. 1 in D Major, Op. 6: II. Adagio espressivo
00:59:28 Violin Concerto No. 1 in D Major, Op. 6: III. Rondo: allegro spirituoso
01:09:08 Violin Concerto No. 3 in E Major: I. Introduzione. Andantino - Allegro marziale
01:26:57 Violin Concerto No. 3 in E Major: II. Adagio. Cantabile spianato
01:34:13 Violin Concerto No. 3 in E Major: III. Polacca. Andantino vivace
01:46:22 Violin Concerto No. 6 in E Minor: I. Risoluto
02:07:04 Violin Concerto No. 6 in E Minor: II. Adagio
02:13:59 Violin Concerto No. 6 in E Minor: III. Rondo ossia polonese
02:25:27 Violin Concerto No. 5 in A Minor: I. Allegro maestoso
02:44:27 Violin Concerto No. 5 in A Minor: II. Andante un poco sostenuto
02:53:03 Violin Concerto No. 5 in A Minor: III. Rondo
03:03:37 Violin Concerto No. 2 in B Minor, Op. 7: I. Allegro maestoso
03:19:05 Violin Concerto No. 2 in B Minor, Op. 7: II. Adagio
03:26:05 Violin Concerto No. 2 in B Minor, Op. 7: III. Ronde à la clochette

Tracklist below.

Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play): https://brilliant-classics.lnk.to/Bachsonatas
More Information: https://www.brilliantclassics.....com/articles/j/js-ba
Brilliant Classics Spotify: https://open.spotify.com/user/....brilliantclassics?si
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Composer: Johann Sebastian Bach
Artist: Kristóf Baráti (violin)

Bach may well be one of the most widely acknowledged master composers of all time, but that only serves to make each performer’s interpretation of his work all the more challenging and distinctive: each musician must both do justice to the composer’s intention, making a decision as to the best way of conveying that within the music which is not fixed, and at the same time leave their own mark on the performance. This is especially true for these Sonatas and Partitas given the variety of styles in which such Baroque masterworks have been performed, ranging from the freely romantic to the strictly precise, and the technical challenge posed by these complex pieces for a single instrument.

The works in this collection are something of an enigma, not only because of the uncertainty surrounding the circumstances and date of their composition, but, more crucially, because of the way in which they stretch the capacity for polyphony of a single violin beyond its physical limit. It is as though Bach had written for a full ensemble of instruments – but on a single staff. Modern musicians have even speculated as to the possible existence of a special bow with which an exact performance of the music might have been achieved in Bach’s day. The music is no less rich for all of this, however: on the contrary, the harmonic complexity of these pieces is at once captivating and beautiful; the implied but absent notes are thrillingly suggestive; and the multiplicity of voices leaves the listener marvelling at Bach’s compositional vision and the performer’s ability.

This accomplished musical feat is performed by Kristóf Baráti, a Hungarian violinist who has worked with an astonishing number of world-famous orchestras and conductors. Baráti plays a 1703 Stradivarius violin, and one can sense this echo of the era of the pieces as much as one can his intense emotional involvement with the music.

00:00:00 Sonata No. 1 in G Minor, BWV 1001: I. Adagio
00:03:53 Sonata No. 1 in G Minor, BWV 1001: II. Fuga: Allegro
00:09:21 Sonata No. 1 in G Minor, BWV 1001: III. Siciliana
00:12:25 Sonata No. 1 in G Minor, BWV 1001: IV. Presto
00:15:04 Partita No. 1 in B Minor, BWV 1002: I. Allemanda
00:19:29 Partita No. 1 in B Minor, BWV 1002: II. Double
00:21:40 Partita No. 1 in B Minor, BWV 1002: III. Corrente
00:23:55 Partita No. 1 in B Minor, BWV 1002: IV. Double: Presto
00:26:39 Partita No. 1 in B Minor, BWV 1002: V. Sarabande
00:28:31 Partita No. 1 in B Minor, BWV 1002: VI. Double
00:29:53 Partita No. 1 in B Minor, BWV 1002: VII. Tempo di borea
00:32:09 Partita No. 1 in B Minor, BWV 1002: VIII. Double
00:34:33 Sonata No. 2 in A Minor, BWV 1003: I. Grave
00:38:24 Sonata No. 2 in A Minor, BWV 1003: II. Fuga
00:46:06 Sonata No. 2 in A Minor, BWV 1003: III. Andante
00:51:24 Sonata No. 2 in A Minor, BWV 1003: IV. Allegro
00:55:30 Partita No. 2 in D Minor, BWV 1004: I. Allemanda
00:58:34 Partita No. 2 in D Minor, BWV 1004: II. Corrente
01:00:34 Partita No. 2 in D Minor, BWV 1004: III. Sarabanda
01:03:00 Partita No. 2 in D Minor, BWV 1004: IV. Giga
01:06:09 Partita No. 2 in D Minor, BWV 1004: V. Ciaccona
01:19:13 Sonata No. 3 in C Major, BWV 1005: I. Adagio
01:23:12 Sonata No. 3 in C Major, BWV 1005: II. Fuga
01:32:50 Sonata No. 3 in C Major, BWV 1005: III. Largo
01:35:53 Sonata No. 3 in C Major, BWV 1005: IV. Allegro assai
01:39:29 Partita No. 3 in E Major, BWV 1006: I. Preludio
01:43:20 Partita No. 3 in E Major, BWV 1006: II. Loure
01:46:07 Partita No. 3 in E Major, BWV 1006: III. Gavotte en Rondeau
01:48:54 Partita No. 3 in E Major, BWV 1006: IV. Menuet I, II
01:50:53 Partita No. 3 in E Major, BWV 1006: V. Bourée
01:52:00 Partita No. 3 in E Major, BWV 1006: VI. Gigue

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Composer: Maurice Ravel
Artist: Michelangelo Carbonara (piano)

00:00:00 Serenade Grotesque
00:03:20 Menuet Antique
00:09:31 Pavane Pour Une infante defunte
00:15:55 Jeux D'eau
00:21:43 Sonatine : I. Modere
00:25:50 Sonatine : II. Mouvement de Menuet
00:28:57 Sonatine : III. Anime
00:32:57 Menuet En Ut Diese Mineur
00:34:11 Miroirs: Noctuelles
00:39:16 Miroirs: Oiseaux Tristes
00:43:26 Miroirs: Une Barque Sur L' Ocean
00:51:23 Miroirs: Alborada del Gracioso
00:58:04 Miroirs: La vallee des Cloches
01:04:05 Gaspard de La Nuit: I. Ondine
01:11:00 Gaspard de La Nuit: II. Le Gibet
01:18:27 Gaspard de La Nuit: III. Scarbo
01:28:28 Menuet Sur Le Nom de Haydin
01:30:09 Valses Nobles Et Sentimentales
01:31:27 Valses Nobles Et Sentimentales
01:34:03 Valses Nobles Et Sentimentales
01:35:28 Valses Nobles Et Sentimentales
01:36:38 Valses Nobles Et Sentimentales
01:37:51 Valses Nobles Et Sentimentales
01:38:31 Valses Nobles Et Sentimentales
01:41:11 Valses Nobles Et Sentimentales
01:45:28 Prelude
01:47:44 A La maniere de ...: Borodine
01:49:28 A La maniere de ...: Chabrier
01:51:28 Le Tombeau de Couperin: I. Prelude
01:54:41 Le Tombeau de Couperin: II. Fugue
01:58:11 Le Tombeau de Couperin: III. Forlane
02:04:46 Le Tombeau de Couperin: IV. Rigaudon
02:08:08 Le Tombeau de Couperin: V. Menuet
02:12:37 Le Tombeau de Couperin: VI Toccata

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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

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Composers: Johann Georg Pisendel, Silvius Leopold Weiss
Artists: Thomasz Aleksander Plusa (violin), Robert Smith (cello), Earl Christy (lute), Ere Lievonen (harpsichord)

Johann Pisendel was the German violinist of his age; one whose total mastery of the instrument, and its expressive possibilities as filtered through both the Italian and German styles prevalent in the high Baroque era, made a fundamental impression on both Telemann and Bach. Without Pisendel, it is fair to say, there would be no Sonatas and Partitas for solo violin; Pisendel’s own fiendish unaccompanied sonata served as a model to Bach and survives partially in a publication by his great friend Georg Philipp Telemann.

As is the case with Bach, Pisendel’s ‘accompanied’ violin sonatas, in which the violin is joined by a continuo ensemble, are scarcely less demanding. They, too, are four-movement works, often in the classic slow-fast-slow-fast pattern laid down by Geminiani and Corelli and doubtless taught to Pisendel when he was a boy in Ansbach by Giuseppe Torelli, a musician in the court chapel and a fine composer in his own right.

Further instruction was provided by the powerfully individual leader of music at the court chapel in Dresden, Johann David Heinichen; throughout his career, Pisendel enjoyed happy association, often close friendship, with the great composers of his day; later in life, these included both Telemann and Zelenka. Perhaps because of these associations, Pisendel set himself the highest standards in composition; unlike most of his contemporaries, he subjected what he wrote to continual correction and revision, which may also account for the relatively succinct nature of his output.

Four such sonatas are presented here, and divided from each other by movements from the many lute sonatas by Pisendel’s exact contemporary Sylvius Leopold Weiss. They are played here by the young Czech early-music virtuoso, who in his own, extended booklet notes, gives an account not only of Pisendel’s life and work but also of his affinity with this music: ‘Each one was as surprisingly beautiful as the previous, and no less unique… [in Pisendel] the idiom of the violin is brought to its peak.’

Johann Georg Pisendel (1687-1755) was born into a musical family (his father was Cantor), and from an early age he received lessons as a chorister and in violin, his teacher being the famous Giuseppe Torelli. Further studies brought him to Weimar where he met Johann Sebastian Bach (his near-contemporary) and Leipzig, where he met Telemann. In 1712 he joined the famous court orchestra of Dresden, where he stayed till his death in 1755.
The acquaintance and friendship of the two musical giants of the time, Bach and Telemann, left a firm imprint on him as a composer and violinist. On the other hand Pisendel’s astonishing virtuosity influenced Bach to a great extent, Bach’s solo violin sonatas & partitas would not have been the same without Pisendel.
This new recording presents three violin sonatas and one violin solo sonata by Pisendel, works of staggering technical demands, rich in harmony and freedom of expression. As interludes we hear solo lute works by Silvius Leopold Weiss.
Played with immense dedication and conviction by young Polish violinist Tomasz Aleksander Plusa, who studied with Lucy van Dael, Christoph Rousset, Simon Standage, Sigiswald Kuijken and others.

00:00:00 Ouverture from Sonata for Lute, No. 39 in C Major
00:04:46 Violin Sonata in C Minor: I. Adagio – Andante
00:06:39 Violin Sonata in C Minor: II. Allegro
00:11:20 Violin Sonata in C Minor: III. Largo
00:14:03 Violin Sonata in C Minor: IV. Allegro assai
00:19:09 Sarabande from Sonata for Lute, No. 40 in C Major
00:26:28 Violin Sonata in G Minor: I. Larghetto
00:30:11 Violin Sonata in G Minor: II. Allegro
00:33:49 Violin Sonata in G Minor: III. Largo
00:38:06 Violin Sonata in G Minor: IV. Allegro
00:41:04 Violin Sonata in A Minor: I. —
00:43:51 Violin Sonata in A Minor: II. Allegro
00:49:23 Violin Sonata in A Minor: III.Giga
00:54:00 Violin Sonata in A Minor: IV. Variatione
00:59:42 Presto from Sonata for Lute, No. 39 in C Major
01:06:12 Violin Sonata in C Minor: I. Adagio
01:09:08 Violin Sonata in C Minor: II. Presto
01:12:52 Violin Sonata in C Minor: III. Affettuoso
01:15:10 Violin Sonata in C Minor: IV. Vivace

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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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Composers: Friedrich Wilhelm Ludwig Grützmacher, Robert Schumann
Artists: Francesco Dillon (cello), Emanuele Torquati (piano)

Schumann and the cello: we may think of the fine, late and rhapsodic Cello Concerto, or the lighter Stücke im Volkston, much beloved of cello students this past century and a half. But here is something different: songs, piano works – including the complete Kinderszenen cycle – and the Second Violin Sonata, all arranged for cello and piano.

The arrangements were made by Friedrich Grützmacher, that indefatigable populariser of the cello in mid-19th-century Germany and tireless appropriater and editor of other men’s music for the cello at a time when his instrument had to get by on precious few original pieces – the Vivaldi concertos, for example, were still stuck in Venetian libraries and would stay there for another century. But Grützmacher edited the Bach Cello Suites, the Haydn Concertos and pieces by Boccherini, to make them better known, and indeed to adapt them to 19th-century ways of doing things. He it was, also who gave the first performance of the Stücke im Volkston.

No such problems of era exist with these Schumann arrangements, which vary from comparatively straight transcription (in the case of the Second Violin Sonata) to thoroughgoing and imaginative realisation, in the case of Kinderszenen. Grützmacher shows that these pieces may happily belong to the cello, and even gain a certain mellow charm thereby, especially when played, as they are here, by a young performer of ardent and thoughtful sympathy.

00:00:00 Lieder, Widmung, Op. 25: No. 1
00:02:12 Lieder, Du bist wie eine Blume, Op. 25: No. 1
00:03:46 Lieder, Er der Herrlichsten von Allen, Op. 42: No. 2
00:06:40 Lieder, Dein Angesicht, Op 127: No. 2
00:08:41 Lieder, Der Nussbaum, Op. 25: No. 3
00:11:02 Lieder, Mondnacht, Op. 39: No. 5
00:14:15 Lieder, Fruehlingsnacht, Op. 39: No. 12
00:16:49 Lieder, Die Stille, Op. 39: No. 4
00:18:27 Lieder, Wanderlied, Op. 35: No. 3
00:21:05 Lieder, Die Lotosblume, Op. 25: No. 7
00:22:49 Lieder, An den Sonnenschein
00:24:28 Lieder, Waldesgespraech, Op. 39: No. 3
00:27:35 Lieder, Ich grolle nicht, Op 48: No. 7
00:29:07 Lieder, Romanze, Op. 138: No. 5
00:31:51 Lieder, Sonntags am Rhein, Op. 36: No. 1
00:33:55 Lieder, Volksliedchen, Op. 51: No. 2
00:35:03 Lieder, Die beiden Grenadiere, Op. 49: No. 1
00:38:28 Piano Works, Abendlied, Op. 85
00:41:42 Piano Works, Alpenfee, Op. 115
00:43:54 Piano Works, Romanze, Op. 28
00:47:35 Piano Works, Schlummerlied, Op. 124
00:50:37 Piano Works, Warum, Op. 12
00:53:13 Piano Works, Froehlicher Landmann und Soldatenmarsch, Op. 68
00:56:44 Piano Works, Abschied, Op 82
00:59:33 Piano Works, Am Springbrunnen, Op. 85
01:02:57 Violin Sonata No. 2 in D, Op. 121: I. Ziemlich Langsam - Lebhaft
01:16:29 Violin Sonata No. 2 in D, Op. 121: II. Sehr lebhaft
01:21:26 Violin Sonata No. 2 in D, Op. 121: III. Leise, einfach
01:27:31 Violin Sonata No. 2 in D, Op. 121: IV. Bewegt
01:36:51 Kinderszenen, Op. 15: Von fremden Laendern und Menschen
01:38:34 Kinderszenen, Op. 15: Curiose Geschichte
01:39:43 Kinderszenen, Op. 15: Hasche-Mann
01:40:18 Kinderszenen, Op. 15: Bittendes Kind
01:41:00 Kinderszenen, Op. 15: Glueckes genug
01:41:34 Kinderszenen, Op. 15: Wichtige Begebenheit
01:42:31 Kinderszenen, Op. 15: Traeumerei
01:45:08 Kinderszenen, Op. 15: Am Camin
01:46:12 Kinderszenen, Op. 15: Ritter vom Steckenpferd
01:46:56 Kinderszenen, Op. 15: Fast zu ernst
01:49:20 Kinderszenen, Op. 15: Fuerchtenmachen
01:50:50 Kinderszenen, Op. 15: Kind im Einschlummern
01:53:14 Kinderszenen, Op. 15: Der Dichter spricht

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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)

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Composer: Piotr Ilyich Tchaikovsky
Artists: USSR State Choir and Orchestra, Andrey Chistiakov (conductor)

Tchaikovsky thought highly of his music to Ostrovky’s drama The Snow Maiden, writing to his patroness Nadezhda von Meck in 1879 ‘one of my favourite offspring….I think this music is imbued with the joys of spring that I was experiencing at the time’ It was an important commission for a composer who in 1873 was still establishing his reputation, and who had his first 3 symphonies and first piano concerto performed to great popular acclaim. The production of the drama was lavish, combining all three performing arts – drama, dance and music.

The premiere cost the vast sum of 15000 roubles, and though the production was stage with success (more for the music than the drama which was judged as rather static) in 1873 and 74, after 9 runs was never seen again due to the prohibitive cost. The music however was performed every now and again, but it has remained one of the composers least known works. Tchaikovsky used some of the material for his music to Hamlet in 1891, but he had always hoped to incorporate the score into an opera on the Snow Maiden story. When Rimsky-Korsakov’s opera on the same story appeared Tchaikovsky was seething with anger, and wrote to his brother Modest ‘it is as if they have taken from me by force something that is innately mine and dear to me and are presenting it to the public in bright new clothes’.

The music is characteristically colourful, especially the chorus depicting shivering birds and the procession of the carnival. It gives plenty of hints of the great ballet scores that would follow.

00:00:00 The Snow Maiden: Introduction
00:04:48 The Snow Maiden: Dance and choruses of the birds
00:10:28 The Snow Maiden: Winter’s monologue
00:13:50 The Snow Maiden: Carnival procession
00:20:55 The Snow Maiden: Melodrama
00:22:56 The Snow Maiden: Interlude
00:24:18 The Snow Maiden: Lehl’s first song
00:28:15 The Snow Maiden: Lehl’s second song
00:29:48 The Snow Maiden: Interlude
00:33:00 The Snow Maiden: Chant of the blind bards
00:37:02 The Snow Maiden: Melodrama
00:41:11 The Snow Maiden: Chorus of the people and the courtiers
00:43:26 The Snow Maiden: Round of the young maidens
00:45:54 The Snow Maiden: Dance of the tumblers
00:50:31 The Snow Maiden: Lehl’s third song
00:57:13 The Snow Maiden: Brussila’s song
00:58:45 The Snow Maiden: Apparition of the Spirit of the Wood
00:59:36 The Snow Maiden: Interlude-The Spring Fairy
01:04:03 The Snow Maiden: Tsar Berendey’s march and chorus
01:10:42 The Snow Maiden: Final 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)

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The Mass and songs by Guillaume de Machaut are probably the earliest consistent body of work attributable to a single composer in the Western canon. As such, they form a foundation stone to centuries of both melody-oriented song and contrapuntal polyphony that come thereafter. They have their own rich recording history, too, from the gentle and sometimes pedestrian efforts of pioneering groups like Pro Musica Antiqua and the New York Pro Musica, through to the dynamic and swinging recordings of the Orlando Consort.

Composer :Guillaume de Machaut
Artist: Ensemble Gilles Binchoit, Dominique Vellard (conductor)

00:00:00 Messe de Nostre Dame: Introitus. Gaudeamus omnes in domino
00:05:10 Messe de Nostre Dame: Kyrie eleison
00:12:15 Messe de Nostre Dame: Gloria in excelsis deo
00:17:15 Messe de Nostre Dame: Collectio. Veneranda nobis
00:18:21 Messe de Nostre Dame: Epistulum. Lectio libri sapientiae
00:20:25 Messe de Nostre Dame: Graduale. Propter veritatem
00:23:46 Messe de Nostre Dame: Alleluia, assumpta est Maria
00:25:51 Messe de Nostre Dame: Evangelium. In illo tempore intravit Jesus
00:27:48 Messe de Nostre Dame: Credo in unum Deum
00:35:06 Messe de Nostre Dame: Offertorium. Diffusa est gratia
00:36:34 Messe de Nostre Dame: Praefatio
00:39:22 Messe de Nostre Dame: Sanctus & Benedictus
00:44:02 Messe de Nostre Dame: Pater Noster
00:45:41 Messe de Nostre Dame: Agnus Dei
00:49:14 Messe de Nostre Dame: Communio. Regina mundi
00:53:57 Messe de Nostre Dame: Postcommunio. Mense celestis
00:55:03 Messe de Nostre Dame: Ite Missa est
00:56:42 Le vray remède d’amour: “Je, Guillaumes” from Le Jugement du Roi de Navarre
00:57:33 Le vray remède d’amour: Virelai “Dame, vostre doulz viaire”
01:03:36 Le vray remède d’amour: Motet “Amours qui ha le pouoir/Faus samblant”
01:06:08 Le vray remède d’amour: Virelai “Je vivroie liement”
01:09:14 Le vray remède d’amour: Rondeau “Ce qui soustient moy”
01:12:11 Le vray remède d’amour: “La, firent mains divers acors” from Le Remède de Fortune
01:13:20 Le vray remède d’amour: Ballade “Dame se vous m’estes lonteinne”
01:15:24 Le vray remède d’amour: Ballade “Je ne cuit pas”
01:21:27 Le vray remède d’amour: Rondeau “Doulz viaire gracieus”
01:23:15 Le vray remède d’amour: Motet “Christe, qui lux est/Veni creator spiritus”
01:27:45 Le vray remède d’amour: “Qui des couleurs” from La Loange des Dames
01:29:21 Le vray remède d’amour: Rondeau “Puisqu’en oubli”
01:30:57 Le vray remède d’amour: Ballade “Dame ne regardes pas”
01:34:30 Le vray remède d’amour: Ballade “Doulz amis”
01:40:57 Le vray remède d’amour: “Long sont mi jour” from Le Livre du Voir-Dit
01:41:36 Le vray remède d’amour: Complainte “Tels rit au main”
01:43:56 Le vray remède d’amour: Virelai “Liement me deport”
01:49:23 Le vray remède d’amour: “Des que on porroit” from Le Livre du Voir-Dit
01:50:49 Le vray remède d’amour: Ballade “De toutes flours”
01:57:26 Le vray remède d’amour: “Mon cuer, ma suer” from Le Livre du Voir-Dit
02:00:06 Le vray remède d’amour: Motet “Felix virgo” - “Inviolata genitrix”
02:04:39 Le Jugement du Roi de Navarre: Chanson roial ”Joie, plaisance et douce nourriture”
02:05:58 Le Jugement du Roi de Navarre: Ballade “Tres douce dame que j’aour”
02:09:52 Le Jugement du Roi de Navarre: “Un po apres le temps d’autonne...”
02:11:31 Le Jugement du Roi de Navarre: Motet “Plange regni/Tu qui gregem tuum ducis”
02:14:24 Le Jugement du Roi de Navarre: “Et tout einsi com je cuidoie...”
02:16:18 Le Jugement du Roi de Navarre: Motet “O livoris feritas/Fons totuis superbie”
02:19:01 Le Jugement du Roi de Navarre: “Et quant Nature vit ce fait...”
02:20:40 Le Jugement du Roi de Navarre: Virelai “Puis que ma dolour”
02:23:22 Le Jugement du Roi de Navarre: “Si que ces tempestes cesserent...”
02:26:39 Messe de Nostre Dame: Kyrie
02:33:12 Le Jugement du Roi de Navarre: “Si que tres bien me confessay...”
02:34:25 Le Jugement du Roi de Navarre: Virelai “J’aim sans penser”
02:36:42 Le Jugement du Roi de Navarre: Ballade “Esperance”
02:41:53 Le Jugement du Roi de Navarre: Double ballade “Quant Theseüs” - “Ne quier veoir”
02:47:11 Le Jugement du Roi de Navarre: “Damoiselle, la traïson de Theseüs...”
02:50:09 Le Jugement du Roi de Navarre: Ballade “Honte, paour, doubtance”
02:53:55 Le Jugement du Roi de Navarre: “Adont commensa Souffissance...”
02:57:28 Le Jugement du Roi de Navarre: Ballade “Nes que on porroit les estoilles nombrer”
03:03:00 Le Jugement du Roi de Navarre: “Quant leur consaus fu affinez...”
03:04:22 Le Jugement du Roi de Navarre: Ballade “Amours me fait desirer”