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DAN WARNER & LEE LEVIN PARTICIPAN EN LA GRABACION DE NUEVO DISCO DE ALFAREROS

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Music video for Nada te Turbe performed by HERMANA GLENDA.

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Comunicadores de la talla de Ulises Oyarzún, Gustavo Falcon, Lic Adrian Intrieri, César Soto y Jesus Adrian Romero - para iniciar - son los autores de los primeros libros que presenta Kate & Cumen

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Letra Oficial: Aunque mis ojos, no te pueden ver, Te puedo sentir, sé que estás aquí. Aunque mis manos, no pueden tocar. Tu rostro Señor, sé que estás aquí.

Coro:
Mi corazón puede sentir Tu presencia
Tú estás aquí, Tú estás aquí
Puedo sentir Tu majestad
Tú estás aquí, Tú estás aquí

Mi corazón puede mirar Tu hermosura
Tú estás aquí, Tú estás aquí
Puedo sentir Tu gran amor
//Tú estás aquí, Tú estás aquí//

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Copyright © 2005 Vástago Producciones, All rights reserved.

Composer: Johann Sebastian Bach
Artists: Andrius Puskunigis (oboe and oboe d’amore), Simona Venslovaite (violin), St. Christopher Chamber Orchestra. Donatas Katkus (conductor)

Tracklist below.

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We can’t be sure that Bach wrote any concertos specifically for the oboe aside from the C minor concerto BWV1060 – in which it’s partnered by the violin in an exercise of pathos out of all proportion to the modest dimensions of the work itself. The other concertos here come down to us as harpsichord concertos, in which guise they do not sit entirely happily, and it seems more than likely that Bach, as both unhappy Kapellmeister of the Thomaskirche in Leipzig and far more content in his role supplying music, musicians and concerts to Zimmermann’s coffee house in the city, would have been glad to take advantage of the soloistic potential of a resident oboist to craft these Italianate concertos that exploit both the instrument’s origins in pastoral idiom (notably BWV1053, in the ‘pastoral’ key of F major, and its gently swaying siciliano middle movement in 6/8), as well as more urbane and learned counterpoint of which he was undisputed master among his peers.

Andrius Puskingis is a Lithuanian oboist, now resident in France, who returns to his home city to play and direct these spirited and intimate performances. At present he is the principal oboist with the Heidelburg Symphony Orchestra, who have made an acclaimed series of Haydn symphony recordings with their music director Thomas Fey, and something of Fey’s restless spirit of adventure can also be traced in these fine new recordings.

00:00:00 Oboe Concerto in F Major, BWV 1053: I. Allegro
00:07:15 Oboe Concerto in F Major, BWV 1053: II. Siciliano
00:12:09 Oboe Concerto in F Major, BWV 1053: III. Allegro
00:18:02 Concerto for Oboe d’amore in A Major, BWV 1055: I. Allegro
00:22:15 Concerto for Oboe d’amore in A Major, BWV 1055: II. Larghetto
00:26:18 Concerto for Oboe d’amore in A Major, BWV 1055: III. Allegro ma non tanto
00:30:52 Oboe Concerto in G Minor, BWV 1056: I. Allegro
00:34:07 Oboe Concerto in G Minor, BWV 1056: II. Largo
00:36:29Oboe Concerto in G Minor, BWV 1056: III. Presto
00:39:55 Concerto for Oboe d’amore in G Major: I. Bass aria (Arr. BWV 100)
00:43:19 Concerto for Oboe d’amore in G Major: II. Alto aria (Arr. BWV 170)
00:49:35 Concerto for Oboe d’amore in G Major: III. Bass aria (Arr. BWV 30)
00:53:52 Concerto for Oboe and Violin in C Minor, BWV 1060: I. Allegro
00:58:16 Concerto for Oboe and Violin in C Minor, BWV 1060: II. Adagio
01:02:19 Concerto for Oboe and Violin in C Minor, BWV 1060: III. Allegro

Alfred Brendel’s first recorded cycle of the complete works for piano of Beethoven appeared in the 1960s on the Vox label. They established his reputation as a leading interpreter of the composer, and although he returned to the studio subsequently to re-record the sonatas and concertos for Philips, these early recordings have retained their freshness and originality. For many record collectors, the budget price Turnabout label provided a happy hunting ground for those who sought out unusual repertoire. The parent company Vox also had the vision to ask the relatively unknown Brendel to undertake the huge project of recording all the Beethoven Sonatas, Variations and Piano Concertos. These recordings document the artist as a young man at the outset of his extraordinary journey, and in repertoire that will always be closely associated with him. They also stand comparison with his later interpretations of Beethoven.

Composer: Ludwig van Beethoven
Artist: Alfred Brendel (piano)

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00:00:00 Piano Sonata No.14 in C sharp Minor Op.27 No.2 ‘Moonlight’: I. Adagio sostenuto
00:05:58 Piano Sonata No.14 in C sharp Minor Op.27 No.2 ‘Moonlight’: II. Allegretto
00:08:16 Piano Sonata No.14 in C sharp Minor Op.27 No.2 ‘Moonlight’: III. Presto agitato
00:15:52 Piano Sonata No.8 in C Minor Op.13 ‘Pathétique’: I. Grave – Allegro di molto e con brio
00:25:00 Piano Sonata No.8 in C Minor Op.13 ‘Pathétique’: II. Adagio cantabile
00:30:44 Piano Sonata No.8 in C Minor Op.13 ‘Pathétique’: III. Rondo:Allegro
00:35:09 Piano Sonata No.23 in F Minor Op.57 ‘Appassionata’: I. Allegro assai
00:44:47 Piano Sonata No.23 in F Minor Op.57 ‘Appassionata’: II. Andante con moto
00:51:03 Piano Sonata No.23 in F Minor Op.57 ‘Appassionata’: III. Allegro ma non troppo

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Tracklist:
00:00:00 Concerto No. 1 in F Major, BWV 1046: I. –
00:03:54 Concerto No. 1 in F Major, BWV 1046: II. Adagio
00:07:28 Concerto No. 1 in F Major, BWV 1046: III. Allegro
00:11:34 Concerto No. 1 in F Major, BWV 1046: IV. Menuet - Trio No. 1 - Polonaise - Trio No. 2
00:19:39 Concerto No. 4 in G Major, BWV 1049: I. Allegro
00:26:21 Concerto No. 4 in G Major, BWV 1049: II. Andante
00:29:52 Concerto No. 4 in G Major, BWV 1049: III. Presto
00:34:26 Orchestral Suite No. 1 in C Major, BWV 1066: I. Ouverture
00:40:05 Orchestral Suite No. 1 in C Major, BWV 1066: II. Courante
00:41:43 Orchestral Suite No. 1 in C Major, BWV 1066: III. Gavotte No. 1 - Gavotte No. 2
00:44:10 Orchestral Suite No. 1 in C Major, BWV 1066: IV. Forlane
00:45:27 Orchestral Suite No. 1 in C Major, BWV 1066: V. Menuet No. 1 - Menuet No. 2
00:48:12 Orchestral Suite No. 1 in C Major, BWV 1066: VI. Bourrée No. 1 - Bourrée No. 2
00:50:37 Orchestral Suite No. 1 in C Major, BWV 1066: VII. Passepied No. 1 - Passepied No. 2
00:53:46 Violin Concerto in E Major, BWV 1042: I. Allegro
01:00:57 Violin Concerto in E Major, BWV 1042: II. Adagio
01:07:43 Violin Concerto in E Major, BWV 1042: III. Allegro assai
01:10:31 Harpsichord Concerto in D Minor, BWV 1052: I. Allegro
01:18:19 Harpsichord Concerto in D Minor, BWV 1052: II. Adagio
01:24:00 Harpsichord Concerto in D Minor, BWV 1052: III. Allegro
01:32:03 Harpsichord Concerto in F Minor, BWV 1056: I. –
01:36:31 Harpsichord Concerto in F Minor, BWV 1056: II. Largo
01:38:58 Harpsichord Concerto in F Minor, BWV 1056: III. Presto
01:42:31 Concerto in C Major for Two Harpsichords and Strings, BWV 1061: I. –
01:49:30 Concerto in C Major for Two Harpsichords and Strings, BWV 1061: II. Adagio ovvero largo
01:54:40 Concerto in C Major for Two Harpsichords and Strings, BWV 1061: III. Fugue
02:00:21 Concerto in A Minor, BWV 1044: I. Allegro
02:09:16 Concerto in A Minor, BWV 1044: II. Adagio
02:15:18 Concerto in A Minor, BWV 1044: III. Alla breve
02:22:25 Sonata No. 1 in G Minor, BWV 1001: I. Adagio
02:26:48 Sonata No. 1 in G Minor, BWV 1001: II. Fugue. Allegro
02:32:16 Partita No. 2 in D Minor, BWV 1004: V. Ciaccona
02:45:21 Suite No. 5 in C Minor, BWV 1011: I. Prelude
02:51:45 Suite No. 5 in C Minor, BWV 1011: II. Allemande
02:58:32 Suite No. 5 in C Minor, BWV 1011: III. Courante
03:00:58 Suite No. 5 in C Minor, BWV 1011: IV. Sarabande
03:04:01 Suite No. 5 in C Minor, BWV 1011: V. Gavotte No. 1 - Gavotte No. 2
03:09:21 Suite No. 5 in C Minor, BWV 1011: VI. Gigue
03:11:51 Suite No. 2 in D Minor, BWV 1008: I. Prelude
03:15:51 Suite No. 2 in D Minor, BWV 1008: II. Allemande
03:19:32 Suite No. 2 in D Minor, BWV 1008: III. Courante
03:21:58 Sonata in E Minor, BWV 1034: I. Adagio ma non tanto
03:25:04 Sonata in E Minor, BWV 1034: II. Allegro
03:27:34 Sonata in E Minor, BWV 1034: III. Andante
03:30:33 Sonata in E Minor, BWV 1034: IV. Allegro
03:35:36 Musikalisches Opfer, BWV 1079: IV. Sonata sopr'il soggetto reale. Largo
03:40:41 Musikalisches Opfer, BWV 1079: IV. Sonata sopr'il soggetto reale. Allegro
03:45:15 Musikalisches Opfer, BWV 1079: IV. Sonata sopr'il soggetto reale. Andante
03:47:49 Musikalisches Opfer, BWV 1079: IV. Sonata sopr'il soggetto reale. Allegro
03:50:29 Prelude, Fugue and Allegro in E-Flat Major, BWV 998: I. Prelude
03:53:33 Prelude, Fugue and Allegro in E-Flat Major, BWV 998: II. Fugue
04:00:21 Prelude, Fugue and Allegro in E-Flat Major, BWV 998: III. Allegro
04:04:42 Partita in C Minor, BWV 997: I. Prelude
04:08:37 Partita in C Minor, BWV 997: II. Fugue
04:16:20 Partita in C Minor, BWV 997: III. Sarabande
04:20:45 Partita in C Minor, BWV 997: IV. Gigue – Double
04:24:17 Sonata in G Minor, BWV 1029: I. Vivace
04:30:13 Sonata in G Minor, BWV 1029: II. Adagio
04:36:08 Sonata in G Minor, BWV 1029: III. Allegro
04:40:26 Musikalisches Opfer, BWV 1079: I. Ricercare a 3
04:46:43 Musikalisches Opfer, BWV 1079: II. Ricercare a 6

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Composer: Franz Liszt

Franz Liszt is universally celebrated as one of the greatest-ever virtuoso performers on the modern piano. Contemporary accounts describe his seemingly superhuman technical abilities and equally striking charisma and stage presence. Yet Liszt was a formidable composer, and his expansion of pianistic possibilities was achieved as much through innovation in his own great piano works as through his astonishing performance on the instrument, if not more. Like many child virtuosos thrust early into busy concert careers (Liszt’s began at the age of nine) he retired early, weary of the spotlight, turning his back on the stage at the remarkably early age of 35. Since he lived to the likewise remarkable old age of 75, much more than the latter half of his life was devoted solely to composition, and having been a pianist of his calibre, the works he created for his own instrument were indeed groundbreaking.

Tracklist Below:

Played by: Vincenzo Maltempo
00:00:00 Hungarian Rhapsodies No. 1 in C-Sharp Minor, S.244/1
00:13:02 Hungarian Rhapsodies No. 2 in C-Sharp Minor, S.244/2
00:25:41 Hungarian Rhapsodies No. 3 in B-Flat Minor, S.244/3
00:30:58 Hungarian Rhapsodies No. 4 in E-Flat Major
00:36:20 Hungarian Rhapsodies No. 5 in E Minor, S.244/5
00:46:17 Hungarian Rhapsodies No. 6 in D-Flat Major, S.244/6
00:53:22 Hungarian Rhapsodies No. 7 in D Minor, S.244/7
00:58:57 Hungarian Rhapsodies No. 8 in F-Sharp Minor, S.244/8
01:06:13 Hungarian Rhapsodies No. 9 in E-Flat Major, S.244/9
01:17:35 Hungarian Rhapsodies No. 10 in E Major, S.244/10
01:23:39 Hungarian Rhapsodies No. 11 in A Minor, S.244/11
01:29:37 Hungarian Rhapsodies No. 12 in C-Sharp Minor, S.244/12
01:39:56 Hungarian Rhapsodies No. 13 in A Minor, S.244/13
01:50:05 Hungarian Rhapsodies No. 14 in F Minor, S.244/14
02:02:59 Hungarian Rhapsodies No. 15 in A Minor, S.244/15
02:08:49 Hungarian Rhapsodies No. 16 in A Minor, S.244/16
02:13:50 Hungarian Rhapsodies No. 17 in D Minor, S.244/17
02:16:46 Hungarian Rhapsodies No. 18 in F-Sharp Minor, S.244/18
02:19:53 Hungarian Rhapsodies No. 19 in D Minor, Ss.244/19

Played by: Enrico Pace
02:30:04 Années de pèlerinage I, S.160: I. Chapelle de Guillaume Tell
02:35:34 Années de pèlerinage I, S.160: II. Au lac de Wallenstadt
02:38:43 Années de pèlerinage I, S.160: III. Pastorale
02:40:24 Années de pèlerinage I, S.160: IV. Au bord d'une source
02:44:22 Années de pèlerinage I, S.160: V. Orage
02:48:29 Années de pèlerinage I, S.160: VI. Vallée d'Obermann
03:02:20 Années de pèlerinage I, S.160: VII. Eglogue
03:05:58 Années de pèlerinage I, S.160: VIII. Le mal du pays
03:11:54 Années de pèlerinage I, S.160: IX. Les cloches de Genève

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Composer & Artist:
Composer: Michel Corrette
Artists: La Fantasia ensemble, Rien Voskuilen (organ and concert master)

About this Album:
Michel Corrette (1709–1795) was born in Rouen, where his father Gaspard was an organist. Sadly, little is known about his early life, but we know he held positions as organist in several churches in Paris. For many years his reputation rested on his teaching methods and educational works, and he can claim to have written and published more teaching methods than any other composer. These include works on the mandolin, guitar, violin, cello, viola da gamba, organ, harpsichord, double bass and harp. Today, these books are of interest as they throw light upon the ‘Italian’ style that was all the rage in France in the early 18th century. The proceeds of all these successful books meant that Corrette became relatively well off, which aroused feelings of envy among his contemporaries, who often made sure that his music received lukewarm reviews.

On this release of Les Six Symphonies de Noël, we hear Corrette writing in a style firmly rooted in the Baroque, but the inclusion of ‘foreign’ material such as the tune from Poland and from North America show the innovative and truly creative side of the composer. Noëls were extremely popular in France, and many were intended for organ alone, though Corrette stipulates that his can be performed within an orchestral setting. He probably meant by this that the organ and a small string ensemble would be the ideal forces.


Tracklist:

00:00:00 Sinfonia I: Ã La Venue De Noël: Moderato
00:02:20 Sinfonia I: Le Roy Des Cieux vient De Naître: Andante
00:04:21 Sinfonia I: Voici Le Jour Solennel: Moderato
00:06:26 Sinfonia I: Adam Fut Un Pauvre Homme: Allegro
00:08:35 Sinfonia II: Où S'en Vont Ces Gais Bergers: Allegro
00:11:08 Sinfonia II: Noël Polonais: Largo
00:12:58 Sinfonia II: Laissez Paître Vos Bêtes: Allegro
00:16:08 Sinfonia III: Quand Je M'éilla Et Eus Assez Dormi: Moderato
00:18:20 Sinfonia III: Vous Qui Désirez Sans FIn: Andante
00:20:58 Sinfonia III: Noël Allemand: Largo
00:22:04 Sinfonia III: Noël De St. Cyr: Allegro
00:24:05 Sinfonia III: Cette Journée: Allegro
00:25:41 Sinfonia III: Puer Nobis Nascitur: Moderato
00:27:56 Sinfonia III: Chantons Je Vous Prie: Allegro
00:28:49 Sinfonia III: Joseph Est Un Bon Compagnon: Allegro
00:30:14 Sinfonia IV: Une Jeune Pucelle: Moderato
00:32:04 Sinfonia IV: (Je Me Suis Levé Par Un Matinet): Allegro
00:33:19 Sinfonia IV: Chrétien(s) Qui SuIVez L'église: Adagio
00:35:15 Sinfonia IV: Nous Sommes En Voie: Allegro
00:36:03 Sinfonia IV: Noel Allemand: Largo
00:37:46 Sinfonia IV: Noël Américain: Allegro
00:38:40 Sinfonia IV: Nouveau Noël Sur Un Ancien Air De M. Lully (Votre Bonté Grand Deiu: Allegro
00:40:54 Sinfonia V: Chantons Je Vous Prie Noël Hautement: Moderato
00:42:29 Sinfonia V: Bergers Allons Voir Dans Ce Lieu: Andante
00:43:34 Sinfonia V: Joseph Est Bien Marié: Allegro
00:44:50 Sinfonia V: Un Jour Dieu Se Résolut
00:45:28 Sinfonia V: Michau Qui Causoit Ce Grand Bruit: Allegro
00:46:09 Sinfonia V: Or, Nous Dites, Marie: Adagio
00:49:48 Sinfonia V: Chantons De VoIX Hautaine: vivace
00:51:55 Sinfonia V: Noël Suisse: Allegro
00:55:10 Sinfonia vi: Tous Les Bourgeois De Chartres: Allegro
00:57:20 Sinfonia vi: Quoy Ma Voisine Es-Tu Fâchée: Amorozo
00:59:42 Sinfonia vi: Noël De Saintonge; (Savez-Vous Mon Cher Voisin): Allegro
01:01:12 Sinfonia vi: Bon Joseph Ëcoutez-Moi

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Composer: Antonio Vivaldi
Artists: l'Arte dell'Arco, Federico Guglielmo (violin & concert master)

These performances of Vivaldi’s violins concertos Op. 6 are a far cry from the elegant and charming performances of past generations: played on period instruments Vivaldi sounds powerful, vibrant, full of passion and drama.The “one player per part” formation is based on recent research by English scholar Richard Maunder, and provide a close, immediate sound, as it might have been heard in a Venetian Palace.

Vivaldi’s op.6 concertos first appeared in print in Amsterdam in 1719. However, this edition was unreliable in the extreme. Scoring was incorrect, the number of works indistinct, random movements separated from their correct work, and a host of other errors.
What is clear though is that these concertos are a decisive step forward from the works found in opp. 3 and 4. For example, all follow the fast-slow-fast pattern of the threemovement concerto. The solo violin has prominence, so we are moving away from the concerto-grosso style.
These recordings are the world premiere of the new critical edition by Alessandro Borin, Istituto Italiano Antonio Vivaldi, Fondazione Giorgio Cini,Venice.

00:00:00 Concerto No. 4 in D, RV 216 for violin, strings and continuo: I. Allegro
00:02:01 Concerto No. 4 in D, RV 216 for violin, strings and continuo: II. Adagio
00:03:33 Concerto No. 4 in D, RV 216 for violin, strings and continuo: III. Allegro
00:06:00 Concerto No. 5 in E Minor, RV 280 for violin, strings and continuo: I. Allegro
00:09:00 Concerto No. 5 in E Minor, RV 280 for violin, strings and continuo: II. Largo
00:11:05 Concerto No. 5 in E Minor, RV 280 for violin, strings and continuo: III. Allegro)
00:13:05 Concerto No. 6 in D Minor, RV 239 for violin, strings and continuo: I. Allegro
00:16:29 Concerto No. 6 in D Minor, RV 239 for violin, strings and continuo: II. Largo
00:18:55 Concerto No. 6 in D Minor, RV 239 for violin, strings and continuo: III. Allegro
00:22:03 Concerto No. 2 in E-Flat, RV 259 for violin, strings and continuo: I. Allegro
00:26:00 Concerto No. 2 in E-Flat, RV 259 for violin, strings and continuo: II. Largo
00:27:47 Concerto No. 2 in E-Flat, RV 259 for violin, strings and continuo: III. Allegro
00:30:48 Concerto No. 1 in G Minor, RV 324 for violin, strings and continuo: I. Allegro
00:34:19 Concerto No. 1 in G Minor, RV 324 for violin, strings and continuo: II. Grave
00:37:33 Concerto No. 1 in G Minor, RV 324 for violin, strings and continuo: III. Allegro
00:40:11 Concerto No. 3 in G, RV 318 for violin, strings and continuo: I. Allegro
00:43:17 Concerto No. 3 in G, RV 318 for violin, strings and continuo: II. Adagio
00:45:00 Concerto No. 3 in G, RV 318 for violin, strings and continuo: III. Allegro

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Composer: Georg Philipp Telemann
Artists: Collegium Instrumentale Brugense, Patrick Peire (conductor)

Georg Philipp Telemann (1681–1767) was one of the most prolific composers of the 18th century; although the largest part of his compositional activities were devoted to vocal music, he wrote a substantial number of overtures, which this splendid 8-disc collection is dedicated to.

Although Telemann chose the title of ‘Overtures’, this was somewhat interchangeable with the genre of the Suite in his era. Each work opens with a three-part French overture, and this is followed by a series of varied, shorter pieces – encompassing everything from dances (drawn from the French tradition and beyond), fugues, chaconnes, passacailles, musical portraits, folk dances and evocations of scenes and characters.

In these eight discs, Collegium Instrumentale Brugense and Patrick Peire’s three separate volumes of Telemann Overtures have been collected together for the first time, creating a box set that is set apart by its breadth. Its overview of 33 Overtures illuminates Telemann’s hugely inventive approach to instrumentation, while revealing the wealth of subjects that he sought inspiration in. The ‘Alster Overtüre’, for example, named after the Alster river in Germany, features a ‘Concert of Frogs and Crows’, while another Overture is inspired by Cervantes’ Don Quixote.

A generous selection of 33 Overtures (or Orchestral Suites) by Georg Philipp Telemann, formerly issued separately, now collected in one 8-CD set. This collection contains the Last 2 out of 8 discs.

CD1: TWV55: D18, G10 ‘Burlesque de Quixotte’, c2 & D4
CD2: TWV55: F11 ‘Alster’, B5 ‘Volker’,d2 & B7
CD3: TWV55: a4, A4, D23 & G4 ‘Des Nations anciens et modernes’
CD4: TWV55: D22 ‘Ouverture jointes d’une Suite tragi-comique’, e7, h4, e3 & c4
CD5: TWV55: d3, F4, B11 ‘La Bourse’ & Es1
CD6: TWV55: C6, f1, B8 ‘Burlesque’ & g9
-CD7: TWV55: D17, A2, a2 & e8 ‘l’Omphale’
-CD8: TWV55: F16 ‘Pour S.A.S. Monseigheur Le Landgrave de Darmstadt’, g2 ‘La Changeante’, G7 & D13 ‘La Gaillarde’


Tracklist can be found in the comment section below!

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Federico Guglielmo and his ensemble L’Arte dell’Arco have already made a number of acclaimed recordings of Vivaldi’s music for Brilliant Classics. This boxset brings together CDs previously published along with never-before-heard recordings, spanning Vivaldi’s Concertos and Sonatas Opp. 1–12 plus a bonus CD of Cello Sonatas. The comprehensive collection showcases the perennial music of ‘Il prete rosso’, with Italian musicians playing on authentic instruments, giving the closest version possible to the sounds that would have resonated in Venice 300 years ago.
This release is proud to feature some of Guglielmo’s long-time collaborators, including Mario Folena on the flute, Pier Luigi Fabretti on the oboe and Francesco Galligioni on the cello, all experienced performers with a sound that blends perfectly with L’Arte dell’Arco. The ensemble itself also differs from piece to piece, with Guglielmo carefully selecting the number of performers and instrumentation for each individual work, thereby creating the most authentic performance possible.

Guglielmo and his players bring a fresh interpretation to these beloved concertos as well as providing the listener with an opportunity to delve into Vivaldi’s lesser-known earlier works. With just one player per part, L’Arte dell’Arco strip back the layers, bringing a revitalising transparency to Vivaldi’s complex writing. The release includes world premieres of performances based on new critical editions of Vivaldi’s music authorised by the Istituto Italiano Antonio Vivaldi, based at the Fondazione Giorgio Cini in Venice.

Composer:
Antonio Vivaldi

Artist:
L'Arte dell'Arco
Federico Guglielmo (conductor)
Francesco Galligioni (cello)
Pier Luigi Fabretti (oboe)
Mario Folena (flute)

Tracklist in the Comment Section:
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The 18th-century Italian Carlo Tessarini has only emerged relatively recently as the brilliant musician and composer that he was (thanks, in part, to an in-depth study published in 2012). He travelled widely, taking on diverse forms of work, and remaining musically active until a ripe old age – remembered by one of his contemporaries as a ‘lively 70-year-old who still regularly played the violin’.

We are treated here to an album consisting almost entirely of world premiere recordings. Within Tessarini’s exclusively instrumental oeuvre, he was in particular a prolific solo sonata writer. His works oscillated between virtuosity and accessibility – reflecting in part the commercial considerations attached to the publication of his work – though there is more than enough of the former here to excite the listener’s ear. Equally manifest are his subtle compositional innovations, such as the fluid approach to melodic counterpoint discernible in the Sonata in C major Op.2. The result is an album sure to convince listeners of the deeper attention that this skilful composer merits.

The sonatas are played by Valerio Losito, an esteemed violinist and viola d’amore player as well as a musicologist, whose first recording for Brilliant Classics was a Scarlatti album in 2011. The basso continuo is played by harpsichordist, professor and radio broadcaster Federico del Sordo.

Other information:
- Rarely recorded repertoire.
- Carlo Tessarini received his musical tuition in Venice, probably with Vivaldi and Corelli (whose musical heir he clearly is). He became a famous virtuoso on the violin, travelling Europe like a modern day pop star. He died in Amsterdam, leaving a substantial oeuvre mainly written for his own instrument.
- His violin sonatas are firmly rooted in the baroque tradition, but already pointing towards the “galante style” of the late 18th century, with an emphasis on belcanto melodies and cler and transparent structures.

Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play):
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The perfect starting point for exploring Romantic piano music. It features historic recordings of a truly excellent standard, including Blumental with the Vienna Symphony Orchestra under Helmuth Froschauer, the Orchestra of Radio Luxembourg with Pierre Cao accompanying French pianist Dosse, Boehm with the Westphalian Symphony Orchestra under Siegfried Landau, and Antal Doráti conducting the Royal Philharmonic Orchestra with Ilse von Alpenheim.

This 40 CD set contains a wealth of 19th century piano concertos written by composers who for some reason or other have been neglected by history, so called “minor masters” who may have lost the battle against the giants but nevertheless wrote very attractive, impressive and brilliant concertos for the piano (which in many cases was “their” instrument).

To name just a few: Hummel, Field, Czerny, Cramer, Ries, Clementi, Thalberg, Moscheles, Litolff, Kalkbrenner, Lyapunov, Balakirev, Medtner, Glazunov, Henselt, Moszkowski, Scharwenka and many more, over 60 composers!
Most of the recordings come from the rich and unique VOX catalogue, featuring such excellent pianists as Michael Ponti, Felicja Blumenthal, Hans Kann, Martin Galling, Jerome Rose, Roland Keller and many more.

Friedrich Kalkbrenner:
00:00:00 Piano Concerto No. 1 in D Minor, Op. 61: I. Allegro maestoso
00:13:20 Piano Concerto No. 1 in D Minor, Op. 61: II. Adagio molto
00:20:33 Piano Concerto No. 1 in D Minor, Op. 61: III. Rondo. Vivace

Johann Nepomuk Hummel:
00:29:58 Piano Concerto No. 4 in E Major, Op. 110: I. Allegro pomposo e spirituoso
00:44:11 Piano Concerto No. 4 in E Major, Op. 110: II. Andante con moto
00:50:56 Piano Concerto No. 4 in E Major, Op. 110: III. Rondo. Allegro moderato ma con brio

Carl Maria Von Weber:
00:57:53 Piano Concerto No. 1 in C Major, Op. 11: I. Allegro
01:14:13 Piano Concerto No. 1 in C Major, Op. 11: II. Adagio
01:32:25 Piano Concerto No. 1 in C Major, Op. 11: III. Presto
01:45:43 Piano Concerto No. 2 in E-Flat Major, Op. 32: I. Allegro moderato
01:53:08 Piano Concerto No. 2 in E-Flat Major, Op. 32: II. Adagio
02:02:11 Piano Concerto No. 2 in E-Flat Major, Op. 32: III. Rondo. Presto
02:22:58 Konzertstück in F Minor, Op. 79

Robert Volkmann:
02:35:14 Konzertstück in C Minor, Op. 42

Adolf von Henselt:
02:39:22 Piano Concerto in F Minor, Op. 16: I. Allegro patetico
02:46:05 Piano Concerto in F Minor, Op. 16: II. Larghetto
02:57:03 Piano Concerto in F Minor, Op. 16: III. Allegro agitato
Ferdinand Hiller:
03:05:42 Konzertstück for Piano and Orchestra, Op. 113

Frédéric Chopin:
03:14:09 Allegro de concert in A Major, Op. 46