Kennedy Plays Bach with the Berlin Philharmonic

Kennedy Plays Bach with the Berlin Philharmonic
Orchestral | Eac, flac, cue | no log, cover | 1 CD, 299 MB
January 13, 2008 | EMI | RapidShare

There is no question that Kennedy believes Bach is the greatest of composers. He has said so when giving his inimitable introductions to encore items at concerts, and his commitment to Bach's cause is the foundation upon which these recorded performances is based. Bach is the most indestructible of composers, and only die-hard 'original instrument' purists would reject the virtuoso, big-boned style of these performances. The virtuosity is apparent throughout, both of the soloist(s) and of course the orchestra. But it is virtuosity in the service of Bach, not virtuosity for its own sake. Tempi are direct and quick, but articulation remains clear, so that details are projected. The fine balancing of textures allows for details to be heard in fully scored passages too. With the resonant properties of this ensemble, it is no surprise that broad tempi prevail in the slow movements. Phrasing is sensitively done, and there is close adherence to dynamic shadings. The pianissimo playing is beautifully sensitive. The two double concertos are true partnerships; in neither case does one sense rivalry between the players. Such an approach would be inappropriate in Bach, to whom Kennedy and his colleagues pay splendid treatment in this fine compilation.--Terry Barfoot


CD Content

Bach - Violin Concerto in A minor
Bach - Violin Concerto in E major
Bach - Concerto for 2 Violins in D minor
Bach - Concerto for Violin & Oboe in C minor


Performers:
Kennedy (Nigel); Albrecht Mayer (oboe); Daniel Stabrawa (violin)
Berlin Philharmonic Orchestra

Honegger - Symphonies Nos 1-5, Pacific 231, Rugby - Dutoit, Bavarian RSO

Honegger - Symphonies Nos 1-5, Pacific 231, Rugby - Dutoit, Bavarian RSO
Symphonic | Eac, flac, cue | Single tracks, cover | 2 CD, 547 MB
August 22, 2006 | Warner Classics | RapidShare

Here's one composer that has fallen into a relative obliivion. Among "Les Six" , a group of provocative young composers thriving in the ebullient Paris of the 1920's, Honegger (1892 -1955 ) was the one who achieved the widest fame and actually entered the international concert circuit. Among the others Milhaud also seemed to make the breakthrough, but his self-consciously "shocking" music soon outstayed its welcome while Durey, Tailleferre and Auric never produced anything substantial. Poulenc, instead, was regarded as a guilty pleasure, a charming but superficial composer whose allegedly shaky technique precluded him the big symphonic form. Big symphonic form that was exactly Honegger's forteè. After Honegger's death, though things began to change and now it's the once-ridiculed Poulenc that enjoys a far wider notoriety, thanks to the warmth of his music and its genuine intimate quality. Since the 70's (when Karajan's legendary account of the 2nd sym was recorded), Honegger's music slipped away from critical esteem, concert-halls and recording business. Suffice it to say that Dutoit's set is the only major digital cycle, and it was recorded in the mid 80's! Clearly, the post-war reaction again "conservative" music was a major reason for this but, also, I think Honegger's contradictions worked against him: he declared that he wanted to compose austere, highly serious music but, at the same time, he produced a huge number of works in almost any known form ( symphonies, oratorios, chamber music, movie scores) , with unavoidable unevenness of inspiration. At his best, though, Honegger is a highly rewarding composer. His music reflects a wide range of moods, being capable of lyricism and youthful exuberance, wild anger and desolation. Also, his evolution provides a rewarding variety of style, from the aggressive motorism of the 1920's to the austere Neo-Classicism of the later works. His orchestration is also very individual , featuring a peculiarly astringent, strongly contrasted sound, with original choices in instrumentation, like the frequent use of the saxophone. Luckily this set is not just an obligatory chioce but it's also highly recommendable. Not only is Dutoit at home with this repertoire, he also makes the Bavarians play this music as if it was their standard concert-fare. The peculiarly brilliant, silvery tone of this splendid ensemble sounds actually more attuned to the music than the sheen provided by the Berliners for Karajan, that sometimes buried in gloss the details (e.g. the trumpet in the 2nd, that can be heard here thanks to a better textural control and absolutely first-class recording). I'll try a brief description of the works. Sym 1: it's the less known, but it's one of my Honegger favorites. It's an eminently abstract work, whose orchestral virtuosity and exuberance sound very appropriate to Kussevitzky's Boston SO, for which it was composed. It also has a ravishing, intimate middle movement. Sym 2 and 3 are very much "war" symphonies, even if a way very different from, say, Shostakovich 7th. Rather than the struggle for the final victory, they express endless anguish and pain (1941's second), but also the rage for the loss of so many lives and the search for solace (1946's third). It's no concidence that these two feature some of Honegger's most angry, dissonant music. Sym 4 was composed for Paul Sacher's Basle orchestra (hence the subtitle) and it's indeed delighful, almost Haydnian in its luminous textures and smiling irony. With Sym 5 we return to severity and broad symphonic canvases. This one is also a splendid work, with a prevailing note of pessimism , both personal ( Honegger just had a stroke) and general ( he didn' like the direction music was taking, maybe he foresaw his own fate). The subtitle ( "of the three D's ") refers to the fact that the work's three movements end with that note. In my opinion it's the work that features more prominently a peculiarly Honeggerian "dark transparency" in the sound. (I know it sounds weird but I swear it makes sense once you hear the music! ) The first two Mouvements Symphoniques are Honegger's most famous works. Suffice it to say that neither the shatteringly inexorable progression of "Pacific 231" nor the endlessly seductive rondo-like gestures of "Rugby" deserve to be downgraded as "descriptive" music, as they often are. My quibbles: the ridicolously scanty notes provided and the fact that they could not include two essential pieces, the striking Mouvement Symphonique n.3 that Honegger composed for Furtwangler and the caressingly beautiful "Pastorale d'eté" To hear those as splendidly performed by this same team you should buy the other Honegger release in this series (Ultima 3984-24244-2). That also contains Le Roi David by Dutoit and several orchestral pieces conducted by Marius Constant. That's a less essential release, but those two pieces alone would be worthy the expense. I strongly recommend this one to everybody interested in 20th century music.--Amazon


CD Content

Symphony No. 1, for orchestra in C major, H75
Composed by Arthur Honegger
Performed by Bavarian Radio Symphony Orchestra
Conducted by Charles Dutoit

Symphony No. 2, for strings & trumpet ad lib in D major, H153
Composed by Arthur Honegger
Performed by Bavarian Radio Symphony Orchestra
Conducted by Charles Dutoit

Symphony No. 5, for orchestra in D major "Di Tre Re", H202
Composed by Arthur Honegger
Performed by Bavarian Radio Symphony Orchestra
Conducted by Charles Dutoit

Symphony No. 3, for orchestra "Liturgique," H. 186
Composed by Arthur Honegger
Performed by Bavarian Radio Symphony Orchestra
Conducted by Charles Dutoit

Symphony No. 4, for orchestra "Deliciae Basiliensis", H191
Composed by Arthur Honegger
Performed by Bavarian Radio Symphony Orchestra
Conducted by Charles Dutoit

Pacific 231, symphonic movement for orchestra (Mouvement symphonique No. 1), H53
Composed by Arthur Honegger
Performed by Bavarian Radio Symphony Orchestra
Conducted by Charles Dutoit

Rugby, tone poem for orchestra (Mouvement symphonique No. 2), H67
Composed by Arthur Honegger
Performed by Bavarian Radio Symphony Orchestra
Conducted by Charles Dutoit


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Emmanuel Pahud - Paris - Eric Le Sage

Emmanuel Pahud - Paris - Eric Le Sage
Flute | Eac, Ape, cue | log, cover | 1 CD, 224 MB
January 20, 1998 | EMI | RapidShare

Emmanuel Pahud has become one of the biggest flutist around the world these days. His selections on this all-French composer disc span the gamut of the French repertory from the Ibert to the still living Dutilleux. I got this disc for two reasons 1) because there aren't too many recordings of the Dutilleux Sonatine--a contemporary flute and piano piece {The two which spring to my mind are Paula Robison and Michael Bellavance 's but there are probably 1 or 2 more out there} and 2)i was curious about Pahud's mysterious sound. Many flutist friends had told me I HAD to hear a recording of his. Let me say that it takes a lot to impress me after getting used to hearing the flute squad of the Boston Symphony--wood flute pioneer Jacques Zoon, Fenwick Smith and Elizabeth Ostling, but this Pahud's sound IS all that AND a bag of potato chips. This collection although almost exclusively from the 20th century is quite accessible, lyric (in the French style), even the 'bird' calls in Messiaen's 'Le Merle Noir' don't even come close to other ear-challenging 20th century repertory. The disc is a great sampler of the 'greatest flute hits/repertory' of the 20th century (excluding the solo flute pieces-Debussy's Syrinx or Varese's Density 21.5).

CD Content

Sonata for flute & piano, FP 164
Composed by Francis Poulenc
with Eric le Sage, Emmanuel Pahud

Sonatina for flute & piano
Composed by Henri Dutilleux
with Eric le Sage, Emmanuel Pahud

Sonatina for flute & piano
Composed by Pierre Sancan
with Eric le Sage, Emmanuel Pahud

Jeux, sonatine for flute (or violin) & piano
Composed by Jacques Ibert
with Eric le Sage, Emmanuel Pahud

Sonatina, for flute & piano, Op. 76
Composed by Darius Milhaud
with Eric le Sage, Emmanuel Pahud

Aria, for piano trio
Composed by Jacques Ibert
with Eric le Sage, Emmanuel Pahud

Le merle noir, for flute & piano, I/37
Composed by Olivier Messiaen
with Eric le Sage, Emmanuel Pahud

Chant de Linos for flute & piano
Composed by Andre Jolivet
with Eric le Sage, Emmanuel Pahud

Schumann - Complete Symphonies - Sawallisch, Staatskapelle Dresden

Schumann - Complete Symphonies - Sawallisch, Staatskapelle Dresden
Symphonic | Eac, Ape, cue | log, cover | 2 CD, 762 MB
April 9, 2002 | EMI | RapidShare

Many music critics, including those writing for the esteemed Penguin Guide to Classics, have observed that Wolfgang Sawallisch's early 1970s Schumann symphony cycle with the Dresden Staatskapelle simply has no peer. One of the obvious reasons is the superb acoustics of the Dresden Staatskapelle's long-time recording studio, Dresden's Lukaskirche, which has been recognized for a long time as among Europe's finest. Yet another reason is the glorious sound of the Dresden Staatskapelle itself, which has a distinctively vibrant, warm sound that is quite similar to the Wiener Philharmoniker's. But I suspect the most obvious reason remains Wolfgang Sawallisch's passionate interpretations, which are distinctively poles apart from more exuberant interpretations from the likes of Sinopoli and Bernstein, and the relatively austere ones offered from Szell. Without question, the two symphonic highlights of Sawallisch's Dresden cycle have to be the recordings of the 2nd and 3rd symphonies; the latter especially is among the most vibrant interpretations of Schumann's "Rhenish" symphony. While I have had the pleasure of hearing Sawallish conduct the entire Schumann symphony cycle live at Carnegie Hall - around the time his latest Schumann cycle with the Philadelphia Orchestra was issued - I can't possibly think of a more exciting, emotionally riveting set of performances than his early 1970s cycle with the Dresden Staatskapelle.--Amazon

The Sächsische Staatskapelle Dresden (Saxon State Orchestra, Dresden, commonly known as Staatskapelle Dresden) is an orchestra based in Dresden, Germany founded in 1548 by Kurfürst Moritz (Elector Moritz, or Maurice) of Saxony. It is one of the world's oldest orchestras. The precursor ensemble was Die Kurfürstlich-Sächsische und Königlich-Polnische Kapelle (The Saxony Elector and Royal Polish Chapel). The orchestra is the musical body of the Sächsische Staatsoper (Saxon State Opera). Venue of the orchestra is the Semperoper opera house.

The orchestra has had many eminent chief conductors. In its early years, Heinrich Schütz was associated with it, and in the nineteenth century Carl Maria von Weber and Richard Wagner were both chief conductors. In the twentieth century, Richard Strauss became closely associated with it, as both a conductor and a composer, with several of his works being premiered by the ensemble. Karl Böhm and Hans Vonk were unique among the orchestra's chief conductors in that they served as chief conductors of both the Sächsische Staatskapelle Dresden and the State Opera simultaneously. Herbert Blomstedt was musical director of the Staatskapelle from 1975 to 1985.

Giuseppe Sinopoli was chief conductor from 1992 until his sudden death in 2001. In August 2002, Bernard Haitink took up the post, until his resignation in 2004 over disputes with the Staatskapelle's Intendant, Gerd Uecker, on the orchestra's choice of successor. In August 2007 Fabio Luisi began his tenure as chief conductor, having been named to the post in January 2004. He shares with Böhm and Vonk the historic distinction of being chief conductor of both the Sächsische Staatskapelle Dresden and the Semperoper simultaneously. Luisi is scheduled to step down as chief conductor in 2012. In October 2009, the Staatskapelle announced the appointment of Christian Thielemann as its next chief conductor, effective with the 2012-2013 season.

In 2007 the orchestra inaugurated the post of Capell-Compositeur or composer-in-residence, each appointed composer holding the post for one concert season.

In April 2007, the orchestra became the first orchestra ever to be awarded the "Prize of the European Culture Foundation for the Preservation of the World’s Musical Heritage".

The editors-in-chief of nine european music magazines elected the Staatskapelle Dresden as one of the top five orchestras in Europe.

Kapellemeisters and Chief Conductors

* 1548–1554 Johann Walter
* 1555–1568 Mattheus Le Maistre
* 1568–1580 Antonio Scandello
* 1580–1584 Giovanni Battista Pinelli
* 1587–1619 Rogier Michael
* 1615–1672 Heinrich Schütz (Hofkapellmeister)
* 1654–1680 Vincenzo Albrici
* 1656–1680 Giovanni Andrea Bontempi
* 1666–1688 Carlo Pallavicini
* 1688–1700 Nicolaus Adam Strungk (Hofkapellmeister)
* 1697–1728 Johann Christoph Schmidt (Hofkapellmeister)
* 1717–1719 Antonio Lotti
* 1717–1729 Johann David Heinichen
* 1725–1733 Giovanni Alberto Ristori
* 1733–1763 Johann Adolph Hasse (Hofkapellmeister)
* 1776–1801 Johann Gottlieb Naumann (Hofkapellmeister)
* 1802–1806 Ferdinando Paer (Hofkapellmeister)
* 1810–1841 Francesco Morlacchi (Hofkapellmeister)
* 1816–1826 Carl Maria von Weber (Hofkapellmeister)
* 1826–1859 Carl Gottlieb Reißiger (Hofkapellmeister)
* 1843–1848 Richard Wagner (Hofkapellmeister)
* 1850–1880 Carl August Krebs
* 1874–1877 Julius Rietz
* 1877–1884 Franz Wüllner
* 1884–1914 Ernst von Schuch
* 1914–1921 Fritz Reiner
* 1922–1933 Fritz Busch
* 1934–1943 Karl Böhm
* 1943–1944 Karl Elmendorff
* 1945–1950 Joseph Keilberth
* 1949–1953 Rudolf Kempe
* 1953–1955 Franz Konwitschny
* 1956–1958 Lovro von Matačić
* 1960–1964 Otmar Suitner
* 1964–1967 Kurt Sanderling
* 1966–1968 Martin Turnovský
* 1975–1985 Herbert Blomstedt
* 1985–1990 Hans Vonk
* 1992–2001 Giuseppe Sinopoli
* 2002–2004 Bernard Haitink
* 2007–2012 Fabio Luisi
* from 2012 Christian Thielemann

CD Content

Symphony No. 1 in B flat major ("Spring"), Op. 38
Composed by Robert Schumann
Performed by Dresden Staatskapelle

Symphony No. 4 in D minor, Op. 120
Composed by Robert Schumann
Performed by Dresden Staatskapelle

Overture, Scherzo, & Finale for orchestra in E minor / E major, Op. 52
Composed by Robert Schumann
Performed by Dresden Staatskapelle

Symphony No. 2 in C major, Op. 61
Composed by Robert Schumann
Performed by Dresden Staatskapelle

Symphony No. 3 in E flat major ("Rhenish"), Op. 97
Composed by Robert Schumann
Performed by Dresden Staatskapelle

Tchaikovsky - Swan Lake & Sleeping Beauty Suites - Muti, Philadelphia Orchestra

Tchaikovsky - Swan Lake & Sleeping Beauty Suites - Muti, Philadelphia Orchestra
Ballet | Eac, flac, cue | log, cover | 1 CD, 216 MB
1984 | EMI | RapidShare

Swan Lake (Russian: Лебединое Озеро, Lebedinoye Ozero) is a ballet, op. 20, by Pyotr Ilyich Tchaikovsky, composed 1875–1876. The scenario, initially in four acts, by Vladimir Begichev and Vasiliy Geltser was fashioned from Russian folk tales as well as an ancient German legend, which tells the story of Odette, a princess turned into a swan by an evil sorcerer's curse. The choreographer of the original production was Julius Reisinger. The ballet received its premiere on February 27, 1877, at the Bolshoi Theatre in Moscow as The Lake of the Swans. Although it is presented in many different versions, most ballet companies base their stagings both choreographically and musically on the 1895 revival of Marius Petipa and Lev Ivanov, first staged for the Imperial Ballet on January 15, 1895, at the Mariinsky Theatre in St. Petersburg, Russia. For this revival, Tchaikovsky's score was revised by the St. Petersburg Imperial Theatre's chief conductor and composer Riccardo Drigo.


CD Content

Tchaikovsky - Swan Lake (Ballet)

Tchaikovsky - Sleeping Beauty (Ballet)

Stravinsky - Pulcinella - Berganza, Abbado,London SO

Stravinsky - Pulcinella - Berganza, Abbado,London SO
Ballet | Eac, flac, cue | log, cover | 1 CD, 242 MB
October 25, 1990 | Polygram | RapidShare

Igor Stravinsky supposedly based his Pulcinella on musical fragments of 18th century Italian composers Pergolesi, Gallo, Chelleri and Parisotti but there may be a higher degree of the Russian composer in the music than the Italians. The ballet scenario was based a mysterious manuscript that Serge Diaghilev found in Naples and the work was first performed in 1920. This performance is of the revised score of 1947. Claudio Abbado and the London Symphony turn in a vigorous performance with generally fast tempos. The soloists are superb: Teresa Berganza, Ryland Davies and John Shirley-Quirk; each brings a good deal of warmth and personality to their singing and it would be hard to find a better ensemble. The Largo and Tempo di minuetto (Trio) are especially well sung. The well-known Vivo section with the distinctive brass fanfare is especially well played. Overall, this performance of Pulcinella has a great deal of personality that should not be missed.

The performance of Jeu de cartes is also very spirited and well-balanced with excellent dynamics. The quiet passages are well-phrased and the difficult rhythms are handled with ease. The recording is clear and balanced and at mid-price this disc is irresistible.--Amazon


Cd Content

Stravinsky - Pulcinella
Stravinsky - Jeu de Cartes

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Bach - Six Cello Suites transcribed for Guitar - Wangenheim

Bach - Six Cello Suites transcribed for Guitar - Wangenheim
Guitar| Eac, flac, cue | log, cover | 2 CD, 490 MB
March 13, 2007 | Arte Nova Classics | RapidShare

..his engrossing approach to Bach, revealing both a convincing realization of the polyphonic potential of the suites and an interpretation that combined poetic beauty with unforced virtuosity, illustrated A.v. Wangenheims mastery of the instrument and his musical gifts, but is also the fruit of long exposure and detailed study..

Andreas von Wangenheim is regarded as one of the most interesting and expressive guitarists on his generation. He received his musical education at the music conservatories of Hamburg and Basel. In 1987, he won the Bach Prize of the international guitar competition for students in Europe and has since given concerts in most European countries as well as Korea, China, Japan, Canada and the USA. He is a guest of well known festivals such as the Schleswig-Holstein Music Festival, Chamber Music Festival Delft, Rheingau Music Festival, Appollonia Festival Sofia and “Ticino Musica” Switzerland.

Andreas von Wangenheim

recorded his own transcriptions (Arte Nova/ BMG) of the six solo cello suites for the "Bach Year 2000" for which he received excellent reviews. Also with Arte Nova, he recorded a CD containing his own transcriptions of Mozart and Haydn Divertimenti.
Track listing
CD 1

Suite in A major (Transcription of the Suite No. 3 in C major BWV 1009)
1 Prélude
2 Allemande
3 Courante
4 Sarabande
5 Bourrée I & II
6 Gigue

Suite in D major (Transcription of the Suite No. 1 in G major (BWV 1007)
7 Prélude
8 Allemande
9 Courante
10 Sarabande
11 Menuet I & II
12 Gigue

Suite in B major (Transcription of the Suite No. 4 in E flat major BWV 1010)
13 Prélude
14 Allemande
15 Courante
16 Sarabande
17 Bourrée I & II
18 Gigue

CD 2

Suite in A minor (Transcription of the Suite No. 2 in D minor BWV 1008)
1 Prélude
2 Allemande
3 Courante
4 Sarabande
5 Menuet I & II
6 Gigue

Suite in D major (Transcription of the Suite No. 6 in D major BWV 1012)
7 Prélude
8 Allemande
9 Courante
10 Sarabande
11 Gavotte I & II
12 Gigue

Suite in A major (Transcription of the Suite No. 5 in C minor BWV 1011)
13 Prélude
14 Allemande
15 Courante
16 Sarabande
17 Gavotte I & II
18 Gigue


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Weber - Overtures - Sawallisch, Philharmonia Orchestra

Weber - Overtures - Sawallisch, Philharmonia Orchestra
Orchestral | Eac, flac, cue | log, cover | 1 CD, 238 MB
January 11, 2005 | EMI | RapidShare

I have not heard ALL the collections of Weber overtures made so far, but this one, under Sawallisch, is better than the ones made by Karajan, Jarvi and Roy Goodman (with the period-instrument Hanover Band), which are by no means inadequate. This one is simply better. In Sawallish's hands, these well-worn overtures sound fresh and exciting, partly because Weber's classical heritage as well as his forward-looking Romanticism are equally evident. The "con fuoco" themes of the Euryanthe and Oberon overtures are played with fiery ardour, while the ardent second subjects of the overtures are played with memorable tenderness. Der Beherrscher der Geister sounds like the orchestral tour de force it is, though not without a touch of mischievous humour. Sawallisch's handling of tempo changes is also equally impressive (try the fugato section from the Euryanthe overture), and he has a very fine ear for Weber's orchestral details. Only Keilberth in his studio recording of Der Freischutz comes up with an equally impressive reading of its overture, and only Gardiner gives a better performance of the one to Oberon. The lesser-known overtures are done with equal care (Sawallisch has recorded a complete Abu Hassan as well as Weber's two symphonies, and has an excellent understanding of Weber's development as a composer). Jarvi's recording of the overtures suffer, in general, from poor sound, though a number of his performances (such as that of Silvana and Der Freischutz) are actually very good indeed. In comparison, Karajan's set sounds rather glossy, and lacks either the completeness of Jarvi or the idiomatic warmth of Sawallisch. This record is among Sawallisch's very best, fully at par with his excellent set of the Schumann symphonies.--Amazon


CD Content

Euryanthe, opera, J. 291, (Op. 81) Overture
Composed by Carl Maria von Weber
Performed by London Philharmonia Orchestra
Conducted by Wolfgang Sawallisch

Der Beherrscher der Geister (The Ruler of the Spirits), overture for orchestra, J. 122 (Op. 27) (revision of overture to Rübezahl) Overture
Composed by Carl Maria von Weber
Performed by London Philharmonia Orchestra
Conducted by Wolfgang Sawallisch

Abu Hassan, overture to the opera
Composed by Carl Maria von Weber
Performed by London Philharmonia Orchestra
Conducted by Wolfgang Sawallisch

Jubel-Ouvertüre for orchestra in E major, J. 245 (Op. 59)
Composed by Carl Maria von Weber
Performed by London Philharmonia Orchestra
Conducted by Wolfgang Sawallisch

Der Freischütz, opera, J. 277 (Op. 77) Overture
Composed by Carl Maria von Weber
Performed by London Philharmonia Orchestra
Conducted by Wolfgang Sawallisch

Preciosa, incidental music for soloist, chorus & orchestra, J. 279 (Op. 78) Overture
Composed by Carl Maria von Weber
Performed by London Philharmonia Orchestra
Conducted by Wolfgang Sawallisch

Oberon, overture to the opera
Composed by Carl Maria von Weber
Performed by London Philharmonia Orchestra
Conducted by Wolfgang Sawallisch

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Mozart - Flute & Harp Concertos - Pahud, Abbado

Mozart - Flute & Harp Concertos - Pahud, Abbado
Concerto | Eac, flac, cue | log, cover | 1 CD, 302 MB
July 8, 1997 | EMI | RapidShare

Only the first of Mozart's two flute concertos, K. 313 in G, was actually written for the flute; the second, K. 314, originally in C, was written for Mannheim oboist Friedrich Ramm and reworked by Mozart to fulfill a burdensome commission. But flutists have long treated it as one of their own--perhaps on the grounds that some of the things Mozart is reported to have said about their instrument were unkind enough that they shouldn't have to suffer the additional humiliation of only one concerto from his pen. In any case, these two works, yoked to the Concerto for Flute and Harp in C, K. 299, make a nicely filled CD. That is the case with this 1996 recording, which features the talented, twentysomething first flutist of the Berlin Philharmonic, Emmanuel Pahud, together with the Berliners and Claudio Abbado. Pahud is an elegant player with exceptional technique and a French sensibility--just the ticket for this music. He is given a lot of presence by EMI's engineers, though not too forward a placement, and receives exquisite support from his BPO colleagues. High marks for tone and breath control, as well as for fluidity, agility, and overall musicality, if not for ornamentation and other performance-practice niceties. Even so, these are winning performances, and Pahud makes such a strong case for Concerto No. 2, you'd swear Mozart meant it for the flute all along. --Ted Libbey


CD Content

Concerto for flute, harp & orchestra in C major, K. 299 (K. 297c)
Composed by Wolfgang Amadeus Mozart
Performed by Berlin Philharmonic Orchestra
with Emmanuel Pahud, Marie-Pierre Langlamet
Conducted by Claudio Abbado

Flute Concerto No. 1 in G major, K. 313 (K. 285c)
Composed by Wolfgang Amadeus Mozart
Performed by Berlin Philharmonic Orchestra
with Emmanuel Pahud
Conducted by Claudio Abbado

Flute Concerto No. 2 in D major, K. 314 (K. 285d)
Composed by Wolfgang Amadeus Mozart
Performed by Berlin Philharmonic Orchestra
with Emmanuel Pahud
Conducted by Claudio Abbado

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Mendelssohn - Elijah - Terfel & Fleming

Mendelssohn - Elijah - Terfel & Fleming
Oratorio | Eac, Ape, cue | log, cover | 2 CD, 551 MB
October 14, 1997 | Decca | RapidShare

This is a period-instrument recording of Elijah and is played in the key Mendelssohn would have heard in London in the 1840's. The period instruments give class and sound quality to these XIX Century oratorios, take the brass for example, it's less vulgar and "brassy" than with modern instruments, and the gut strings help to clarify the textures. This is in fact one of the two best recordings of Elijah, the other also in period instruments is Philippe Herreweghe's gorgeous version for Harmonia Mundi (sung in the original German). DECCA has a marvelous team of soloists in Terfel, Fleming, Bardon and Ainsley, and the young conductor is very, very good. But don't worry, this is the right key and the Kosher way to hear Mendelssohn.--Amazon

I've heard many fine performances of this, the Mendelssohn masterpiece, both live and recorded, and THIS recording is the quintessential presentation. I've heard this sung in German, and I've heard it sung in English. And, no matter which of the two this is sung in, there is no finer performance anywhere. From the opening, with Bryn Terfel bursting force with the most power I've heard from him to date, to the defeat of the prophets of Baal, to the plea for Israel, to the final praise of God by the children of Israel, this work never lets up. Regardless of the pitching of the instruments or how Mendelssohn would have heard it, there is no doubt in my mind that he most certainly would have been enthralled with Terfel's performance. Terfel is, no question, the best there is in the world of classical bass-baritones today. Renee Fleming delivers a magnificently gorgeous performance. John Mark Ainsley holds his own as well. I was particularly impressed with the work of Patricia Bardon, whom I'd never heard from before this recording. Paul Daniel is worth his salt, too. And, the cake, which all of the soloists and the conductor are the icing for, is the combination of the Edinburgh Festival Chorus and the Enlightenment Orchestra...these are simply wonderful! They are so dramatic, articulate, and involved. If one is in search of a recording of "ELIJAH" by which one wants to hear the way it was meant to be performed (with intensity, emotion, fervor, and energy), then THIS is THE recording to pursue.--Amazon


Elijah (Elias), oratorio, Op. 70
Composed by Felix Mendelssohn
Performed by Orchestra of the Age of Enlightenment
with Geoffrey Moses, Neal Davies, Bryn Terfel, Libby Crabtree, John Mark Ainsley, Stephen Doughty, David Watkin, Patricia Bardon, Renee Fleming, Sarah Fulgoni, Matthew Munro, John Bowen
Conducted by Paul Daniel

Track listing
Disc 1
01. Elijah / Part 1 - Introduction: "As God the Lord of Israel liveth" Bryn Terfel 1:03
02. Elijah / Part 1 - Overture Stephen Doughty 3:22
03. Elijah / Part 1 - "Help, Lord! Wilt Thou quite destroy us?" Edinburgh Festival Chorus 3:50
04. Elijah / Part 1 - "Lord, bow Thine ear to our pray'r!" Edinburgh Festival Chorus 1:52
05. Elijah / Part 1 - "Ye people, rend your hearts and not your garments" John Mark Ainsley 0:50
06. Elijah / Part 1 - "If with all your hearts ye truly seek Me" John Mark Ainsley 2:25
07. Elijah / Part 1 - "Yet doth the Lord see it not" Edinburgh Festival Chorus 4:00
08. Elijah / Part 1 - "Elijah! Get thee hence; Elijah!" Patricia Bardon 0:50
09. Elijah / Part 1 - "For He shall give His angels charge" Edinburgh Festival Chorus 3:43
10. Elijah / Part 1 - "What have I to do with thee" Renée Fleming 6:34
11. Elijah / Part 1 - "Bless'd are they who fear the Lord" Edinburgh Festival Chorus 3:21
12. Elijah / Part 1 - "As God the Lord of Sabaoth liveth" Bryn Terfel 4:36
13. Elijah / Part 1 - "Baal, we cry to thee" Edinburgh Festival Chorus 3:07
14. Elijah / Part 1 - "Call him louder, for he is a God!" Bryn Terfel 1:09
15. Elijah / Part 1 - "Call him louder! He heareth not" Bryn Terfel 2:24
16. Elijah / Part 1 - "Lord God of Abraham, Isaac and Israel" Bryn Terfel 3:04
17. Elijah / Part 1 - "Cast thy burden upon the Lord" Edinburgh Festival Chorus 1:40
18. Elijah / Part 1 - "O Thou, who makest Thine angels" Bryn Terfel 3:01
19. Elijah / Part 1 - "Is not his word like a fire!" Bryn Terfel 1:59
20. Elijah / Part 1 - "Woe, woe unto them who forsake Him!" Patricia Bardon 2:44
21. Elijah / Part 1 - "O man of God, help thy people" Bryn Terfel 5:48
22. Elijah / Part 1 - "Thanks be to God! Edinburgh Festival Chorus 3:42

Disc 2:
01. Elijah / Part 2 - "Hear ye, Israel" - "Thus saith the Lord" - "I am He that comforteth" Renée Fleming 5:24
02. Elijah / Part 2 - "Be not afraid, saith God the Lord" Edinburgh Festival Chorus 4:11
03. Elijah / Part 2 - "The Lord hath exalted thee" Bryn Terfel 3:26
04. Elijah / Part 2 - "Woe to him! He shall perish!" Edinburgh Festival Chorus 1:39
05. Elijah / Part 2 - "Man of God, now let my words" John Mark Ainsley 2:20
06. Elijah / Part 2 - "It is enough! O Lord, now take away my life" Bryn Terfel 5:28
07. Elijah / Part 2 - "See, now he sleepeth beneath a juniper tree" John Mark Ainsley 0:53
08. Elijah / Part 2 - "Lift thine eyes to the mountains" Edinburgh Festival Chorus 1:51
09. Elijah / Part 2 - "He, watching over Israel, slumbers not" Edinburgh Festival Chorus 3:21
10. Elijah / Part 2 - "Arise, Elijah" Patricia Bardon 1:57
11. Elijah / Part 2 - "Oh rest in the Lord, wait patiently for Him" Patricia Bardon 2:53
12. Elijah / Part 2 - "He that shall endure to the end" Edinburgh Festival Chorus 2:16
13. Elijah / Part 2 - "Night falleth round me! O Lord" Bryn Terfel 1:48
14. Elijah / Part 2 - "Behold, God the Lord passed by!" Edinburgh Festival Chorus 4:50
15. Elijah / Part 2 - "Above Him stood the Seraphim" - "Holy, holy, holy" Patricia Bardon 3:17
16. Elijah / Part 2 - "Go return upon thy way" Edinburgh Festival Chorus 1:22
17. Elijah / Part 2 - "For the mountains shall depart" Bryn Terfel 2:52
18. Elijah / Part 2 - "Then did Elijah the prophet break forth" Edinburgh Festival Chorus 2:29
19. Elijah / Part 2 - "Then shall the righteous shine" John Mark Ainsley 2:25
20. Elijah / Part 2 - "Behold, God hath sent Elijah the prophet" Renée Fleming 1:11
21. Elijah / Part 2 - "But the Lord from the north hath raised one" Edinburgh Festival Chorus 6:31
22. Elijah / Part 2 - "And then shall your light break forth" Renée Fleming 3:22

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Shostakovich - 5th Symphony ( Bernstein) 1st Cello Concerto (YoYo Ma, Ormandy)

Shostakovich - 5th Symphony ( Bernstein) 1st Cello Concerto (YoYo Ma, Ormandy)
Orchestral | Eac, flac, cue | log, cover | 1 CD, 303 MB
October 25, 1990 | Sony | RapidShare

This CD has the ultimate Leonard Bernstein performance of Shostakovich's Fifth Symphony. He paces the first movement slower than his overrated 1959 recording, giving it time to develop,making the sinister march sound very well integrated into the score and hence, much more menacing. The scherzo is paced and played flawlessly, correcting Bernstein's earlier romp. The Largo is played to maximum intensity and the finale is one of the best "triumphant" recordings out there. It's fast but not too fast and sounds all the more satisfying. The performance all around is very intense and not at all flaccid or plodding, it's just that Bernstein takes his time to develop the themes, with very rewarding results. The sound quality is superb, with great detail and massive brass.
The Cello Concerto no. 1 is played flawlessly by Yo-Yo Ma, under Eugene Ormandy's masterful baton, with excellent orchestral accompaniment.
In short if you were considering Bernstein's earlier performance on "Bernstein Century", skip it and get this one instead.--Amazon


CD Content

# Symphony No. 5 in D minor, Op. 47
Composed by Dmitry Shostakovich
Conducted by Leonard Bernstein

# Cello Concerto No. 1 in E flat major, Op. 107
Composed by Dmitry Shostakovich
with Yo-Yo Ma
Conducted by Eugene Ormandy

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Strauss J - Blue Danube - Boskovsky, Wiener Philharmoniker

Strauss J - Blue Danube - Boskovsky, Wiener Philharmoniker
Orchestral | Eac, flac, cue | log, cover | 1 CD, 299 MB
November 28, 1989 | Decca | RapidShare

Willi Boskovsky (born Vienna, June 16, 1909; died Visp, Switzerland April 21, 1991) was an Austrian violinist and conductor. Willi Boskovsky joined the Vienna Academy of music at the age of nine. He was the concertmaster of the Vienna Philharmonic Orchestra from 1936 to 1979. He was also, from 1959, the conductor of the Vienna New Year's Concert, which is usually devoted to the music of Johann Strauss II and his contemporaries. Along with the Vienna Philharmonic Orchestra, he was also the chief conductor of the Wiener Johann Strauss Orchester up until his death. A forerunner of this ensemble was the 19th-century Strauss Orchestra founded by Johann Strauss I in 1835. In chamber ensemble he led the Boskovsky Quartet with Philipp Matheis (2nd violin), Gunther Breitenbach (viola) and Nikolaus Hübner (violoncello). The Boskovsky Quartet, together with Johann Krump (double-bass), Alfred Boskovsky (clarinet), Josef Veleba (horn) and Rudolf Hanzl (bassoon) formed the Vienna Octet. These ensembles made several famous recordings (see below). His style appealed to many Strauss listeners as he directed Strauss' music in the manner of the "Vorgeiger", i.e. directing the orchestra with the violin just as Johann Strauss I popularised this form of conducting waltzes, polkas and other dance music alongside Strauss' rival Josef Lanner in the early 19th century. This tradition was also carried on by Johann Strauss II and Josef Strauss after their father's death. Boskovsky was extremely sympathetic to the Strauss style, and his renditions of the Strauss works invariably had the lightness of touch, easy grace, and subtle humor that suit the works to their best advantage. Apart from the Strauss family waltzes, Boskovsky recorded a 10-album cycle of the complete Mozart Dances and Marches, leading what Decca called the Vienna Mozart Ensemble (assorted members of the Vienna Philharmonic). Many of these recordings were included on the Philips/Polygram Complete Mozart series of CD's issued in the 1990's. Boskovsky's New Year's Day 1979 concert was recorded live by Decca, the first commercial use of their proprietary PCM digital system. The resulting 2-LP set was well-received. Quoting Gramophone magazine: "This is a riotous issue ... the first recording to be manufactured and released in the UK utilizing digital recording ... astoundingly vivid and atmospheric ... the results are phenomenal." The album was most recently released as part of the Decca Legends series, remastered in 96k/24-bit PCM.

Tracks
By the Beautiful Blue Danube, Waltz
Perpetual Motion. A Musical Joke Op.257
Music of the Spheres, Waltz
Thunder and Lightning, Quick Polka
Morning Papers, Waltz
Persian March
Explosions-Polka, Op.43
Accelerations-Waltz
Anna's Polka, Op.117
Delerium, Waltz
Russian March
Fireproof! French Polka

59:46:25

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Mendelssohn - Symphonies nos.1 & 5 - Masur, Gewandhaus Orchester Leipzig

Mendelssohn - Symphonies nos.1 & 5 - Masur, Gewandhaus Orchester
Symphonic | Eac, flac, cue | log, cover | 1 CD, 225 MB
June 25, 1991 | Teldec | RapidShare

Leipzig Gewandhaus

Masur conducted the Dresden Philharmonic Orchestra for three years ending in 1958 and again from 1967 to 1972. He also worked with the Komische Oper of East Berlin. In 1970, he became Kapellmeister of the Gewandhausorchester Leipzig, serving in that post until 1996.

In 1991, Masur succeeded Zubin Mehta as music director of the New York Philharmonic (NYP). During his tenure, there were reports of tension between Masur and the NYP's Executive Director at the time, Deborah Borda, which eventually contributed to his contract not being renewed beyond 2002. In a television interview with Charlie Rose, Masur stated that regarding his leaving the NYP, "it was not my wish". The root of the problem problem was a fundamental discordance in status between the Americas and Germany regarding employed personalities of standing. In the former case, the hired beneficiary is expected "to report" to the benefactor, in the latter, he expects a free hand to execute his tasks as he feels best on account of his (to be) recognized experience. Masur stepped down as the NYP's Music Director in 2002, and was named its Music Director Emeritus, a new title created for him. The critical consensus is that Masur improved the playing of the orchestra compared to his more pliable and forbearing predecessor.

In 2000, Masur became principal conductor of the London Philharmonic Orchestra (LPO), and held this position until 2007. In April 2002, Masur became music director of the Orchestre National de France, and served in this post until 2008, when he took the title of honorary music director of the ONF. On his 80th birthday, 18 July 2007, Masur conducted musicians from both orchestras at a Proms concert in London. His performances draw a wide range of reviews. Masur has appeared as a guest conductor with the world's leading orchestras, and holds the lifetime title of Honorary Guest Conductor of the Israel Philharmonic Orchestra.

CD Content

Symphony No. 1 in C minor, Op. 11
Composed by Felix Mendelssohn
Performed by Leipzig Gewandhaus Orchestra
Conducted by Kurt Masur

Symphony No. 5 in D major/D minor ("Reformation"), Op. 107
Composed by Felix Mendelssohn
Performed by Leipzig Gewandhaus Orchestra
Conducted by Kurt Masur

Details
Orchestra: Gewandhausorchester Leipzig
Conductor: Kurt Masur
Composer: Felix Mendelssohn
Audio CD (June 25, 1991)
SPARS Code: DDD
Number of Discs: 1
Label: Teldec
ASIN: B00000E8R6

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Mozart - Serenades for Wind Ensemble - Berlin Philharmonic Wind Ensemble

Mozart - Serenades for Wind Ensemble - Berlin Philharmonic Wind Ensemble
Winds | Eac, flac, cue | log, cover | 1 CD, 223 MB
February 7, 2006 | EMI | RapidShare

The Berlin Philharmonic Wind Ensemble (Berliner Philharmonisches Bläserensemble) has recorded Mozart’s Serenade in E-flat Major K375 and Serenade in B-flat Major K361 ‘Gran Partita’ for EMI Classics. The recording took place in April 2005 at the historic Jesus-Christus Kirche in Dahlem-Berlin and this CD marks the first appearance of the Berlin Philharmonic Wind Ensemble on EMI Classics.
Mozart, whose 250th birthday was celebrated in 2006, composed around a dozen Serenades and Divertimentos for wind instruments, some of them only single movements. He composed the Serenade in E-flat Major in 1781 as a sextet (two clarinets, two horns and two bassoons) for an informal performance at the home of friends on Saint Teresa’s day. In the event, it was performed three times that night, for three different Teresas. Mozart wrote, “As soon as the musicians had finished it at one site, they were led away and paid to play it at another.” The following year, possibly for performance by Emperor Joseph II’s Harmonie (Royal Wind Ensemble), he transformed it into an octet, by adding two oboes, the version performed on the current recording. The five-movement work includes a march-like Allegro maestoso in sonata form, two vigorous minuets, a romantic Adagio and a high-spirited finale.

If the Serenade in E-flat is a masterpiece on a smaller, less formal scale, the ambitious Serenade in B-flat Major, often referred to as ‘Gran Partita’, composed the same year, is a more symphonic experience. It is also utterly unique in its instrumentation and in the originality of its musical impulse. Believed by some to have been a musical offering from Mozart to Constanze Weber for their wedding, which took place on 4th August 1782, the work is scored for a pair each of oboes, bassoons, horns in F, horns in B-flat, clarinets and basset horns, joined by either a contrabassoon or a string bass (on this recording, a string bass). The invention of melody and harmony and the exploration of instrumental combinations and tonal contrast are formidable in a wide range of movements that include a Largo opening movement, a Finale marked Molto allegro and, in between, minuets and trios, an Adagio, a Romance and a Theme with six variations.
Albrecht Mayer, of the BPO Wind Ensemble, said: “We have played together for over ten years, so we are quite different from an ensemble of soloists: we play chamber music within the Orchestra. We are familiar with one another's pitch, intonation, articulation and phrasing so for us, playing [the Mozart Serenades] is just like playing in the orchestra.”
Theo Lap, Vice-President of A&R and International Marketing, said: “The Berlin Philharmonic Wind Ensemble are arguably the best wind players in the world and this recording will set the standard for years to come.”
EMI Classics has made numerous recordings with the Berlin Philharmonic Orchestra since the 1930s. In recent years, the label has released discs by two ensembles drawn from the ranks of the Orchestra, The 12 Cellists of the Berlin Philharmonic Orchestra, and the Berlin Baroque Soloists.--EMI

CD Content

Mozart - Serenade in B flat, K361 'Gran Partita'
Mozart - Serenade in E flat, K375

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Prokofiev - Symphonies Nos. 1 & 3 - Muti, Philadelphia Orchestra

Prokofiev - Symphonies Nos. 1 & 3 - Muti, Philadelphia Orchestra
Symphonic | Eac, flac, cue | log, cover | 1 CD, 243 MB
January 19, 1993 | Philips | RapidShare

Born on 23-April-1891 (11-April-1891 old style) in Sontsovka, Ukraine of the former Russian Empire, Sergei Sergeyevich Prokofiev is considered one of the greatest composers of the twentieth century. He was also an accomplished pianist and conductor. He attended the St. Petersburg Conservatory from 1904 to 1914, winning the Anton Rubinstein prize for best student pianist when he graduated. Like other great composers he mastered a wide range of musical genres, including symphonies, concerti, film music, operas, ballets, and program pieces. At the time, his works were considered both ultra-modern and innovative. He traveled widely, spending many years in Paris and Ettal in the Bavarian Alps, and toured the United States five times. He gained wide notoriety and his music was both reviled and triumphed by the musical press of the time. He returned to his homeland permanently in 1936. He died on 05-March-1953 in Moscow.

Tracks:
1 Prokofiev: Symphony No 3 in C minor, Op 44: I. Moderato 13:46
2 Prokofiev: Symphony No 3 in C minor, Op 44: II. Andante 6:54
3 Prokofiev: Symphony No 3 in C minor, Op 44: III. Allegro agitato 7:27
4 Prokofiev: Symphony No 3 in C minor, Op 44: IV. Andante mosso 6:32
5 Prokofiev: Symphony No 1 in D, Op 25: I. Allegro 4:04
6 Prokofiev: Symphony No 1 in D, Op 25: II. Larghetto 3:53
7 Prokofiev: Symphony No 1 in D, Op 25: III. Gavotta (Non troppo allegro) 1:44
8 Prokofiev: Symphony No 1 in D, Op 25: IV. Finale (Vivace) 4:09

Total Time 49:01

More about Riccardo Muti here

Chopin - Nocturnes - Ivan Moravec

Chopin - Nocturnes - Ivan Moravec, piano
Piano | Eac, flac, cue | log, cover | 2 CD, 331 MB
June 25, 1991 | Nonesuch | RapidShare


Essential Recording

If Moravec had made only these recordings, he would still be esteemed as one of our greatest pianists. He makes the piano sing throughout this set--coloring the music with exquisite tonal shadings, reflecting the changes of mood with total conviction, and providing moment after moment of revelatory beauty. Many critics consider this the greatest set of the Chopin Nocturnes ever recorded, even finer than the superb stereo set by Rubinstein on RCA. The 1966 recordings, made in two different venues, are still outstanding examples of beautiful-sounding, realistic piano sound. --Leslie Gerber

Ivan Moravec (born 9 November 1930) is a Czech concert pianist whose performing and recording career, spanning nearly half a century, has gained him a worldwide following.

A life-long resident of Prague, Moravec's first musical interest was in opera, which he attended as a child with his father. He also recalls turning pages as his father, an amateur pianist and singer, sight-read and sang through opera scores. Piano studies began later with Erna Grünfeld (niece of the Austrian pianist Alfred Grünfeld). At twenty, he entered the Prague Conservatory, then went on to the Prague Academy of Arts, where he studied with Ilona Štěpánová-Kurzová, daughter of Vilém Kurz. In 1957, after hearing Moravec play in Prague, Arturo Benedetti Michelangeli invited him to attend master classes in Arrezzo that summer.

In the late 1950s, an audio tape of a Prague recital was circulated in the West. Soon afterwards, Connoisseur Society, a small American audiophile record company, negotiated with the Czech authorities to engage the young Moravec. In 1962 he traveled to New York to create the first of many recordings for that label, and in 1964 George Szell invited him to perform with the Cleveland Orchestra. Moravec's international concert career was launched.

Ivan Moravec performs major recital works by Chopin, Debussy, Beethoven, and Mozart, as well as Czech composers. He has played with most of the world's main symphony orchestras, and his active piano concerto repertoire has included more than a dozen works by Mozart, Beethoven, Brahms, Schumann, Ravel, Prokofiev, and Franck. Moravec has been a dedicated piano teacher at home in Prague, and frequently gives master classes when he travels.

Moravec's recordings for Connoisseur Society were notable for their audiophile quality, and nearly all of them remain available, long after the LP era, on CD reissues. Moravec has also recorded for several other labels, including Vox, Dorian, Hänssler, and Supraphon. In 1998 a 2-CD compilation of Ivan Moravec recordings was published as part of the landmark Philips series, Great Pianists of the 20th Century.

Ivan Moravec also has a reputation for fastidious attention to the condition of the pianos he plays. He contends that this reputation is somewhat exaggerated, and names other pianists who have traveled with a spare action or even their own pianos. Moravec's baggage is less extensive: a small black bag containing a few carefully-chosen voicing tools. "I only try to meet with the technician, and I listen with him for any unevenness in sound. I do not find mechanical problems, because today the technicians in great cities are very knowledgeable, so mainly I listen to harsh notes, or to weak notes, and ask for these to be changed gently, and I try to put the local piano in the best condition."

* In 2000 Moravec was awarded the Charles IV Prize, the Czech Republic's most prestigious acknowledgement of service to humanity.
* In 2000 President Václav Havel presented Moravec with the Medal of Merit for outstanding artistic achievements.
* In 2002 Moravec was awarded the Cannes Classical Award for lifetime achievement.--Wikipedi

CD Content

Nocturnes (3) for piano, Op. 9, CT. 108-110

Nocturnes (3) for piano, Op. 15, CT. 111-113
Nocturnes (2) for piano, Op. 27, CT. 114-115
Nocturnes (2) for piano, Op. 32, CT. 116-117
Nocturnes (2) for piano, Op. 37, CT. 118-119
Nocturnes (2) for piano, Op. 48, CT. 120-121
Nocturnes (2) for piano, Op. 55, CT. 122-123
Nocturnes (2) for piano, Op. 62, CT. 124-125
Nocturne for piano in E minor, KK IV/b

Verdi - Ouvertures - Riccardo Muti 2CD

Verdi - Ouvertures - Riccardo Muti
Orchestral | Eac, flac, cue | log, cover | 1 CD, 667 MB
August 5, 2002 | EMI | RapidShare

The word ‘overture’ derives from the French ouverture, which denoted the piece in two or more sections that formed a solemn introduction to a ballet, opera or oratorio in the 17th century. (It was sometimes applied, notably by Bach, to a suite comprising a French overture and a group of dance movements.) In 18th-century usage it was extended to works of the symphony type, whether or not they were preludes to dramatic works; the terms were often used interchangeably. Thus in the 1790s Haydn’s London symphonies were sometimes billed as ‘overtures’.

In modern usage the word denotes, first, a substantial piece of orchestral music designed to precede a full-length dramatic work (it would thus include an Italian overture which might actually be called ‘sinfonia’). It may be in one or more sections, and may or may not come to a full close before the drama begins (Mozart’s overture to Die Entführung aus dem Serail, for example, does not). But it is expected to conclude with a fast section of some brilliance. If it does not it is more likely to be called a ‘prelude’ (Vorspiel), as in the case of Tristan und Isolde, or an ‘introduction’, as in the case of Swan Lake.

The word also extends to a work of similar scope designed for independent performance in a concert. A concert overture usually, but not always, has a title, either suggesting a literary or pictorial content (as Mendelssohn’s The Hebrides) or identifying the occasion for which it was written (as Beethoven’s Die Weihe des Hauses or Brahms’s Akademische Festouvertüre). It is approximately equivalent to the first movement of a symphony, and is more restricted than a symphonic poem.

Cd Content

CD 1
01 La forza del destino - Sinfonia
02 Nabucco - Sinfonia
03 Nabucco - Marcia funebre
04 Giovanna d'Arco - Sinfonia
05 La battaglia di Legnano - Sinfonia
06 Luisa Miller - Sinfonia
07 Aida - Preludo
08 Aida - Marcia trionfale
09 Aida - Ballabile
10 Macbeth - Preludio
11 Macbeth - Ballo

CD 2
01 La traviata - Preludio
02 La traviata - Atto 3 Preludio
03 Un ballo in maschera - Atto 1 Preludio
04 Un ballo in maschera - Atto 3 Preludio
05 Attila - Preludio
06 Ernani - Atto 1 Preludio
07 Ernani - Atto 3 Preludio
08 Rigoletto - Preludio
09 I vespri Siciliani - Sinfonia
10 I vespri Siciliani - Le quatro stagioni (Atto 3)
11 I vespri Siciliani - Le quatro stagioni (Atto 3)
12 I vespri Siciliani - Le quatro stagioni (Atto 3)
13 I vespri Siciliani - Le quatro stagioni (Atto 3)

Scarlatti - 32 Sonatas - Fou Ts'ong

Scarlatti - 32 Sonatas - Fou Ts'ong
Piano | Eac, flac, cue | log, cover | 1 CD, 253 MB
April 8, 2003 | Meridian | RapidShare

On this disc the Polish-trained and Chopin Prize Winning Chinese pianist gives us 32 solo keyboard sonatas by Domenico Scarlatti. We get some of the most colorful and intent Scarlatti playing that has so far been captured on commercial discs. You can get the pianist doing very well in Chopin concertos, and a Beethoven/Haydn concerto disc, plus other repertoire - look at Meridian or Sony. Those are worthy efforts of varying sorts, no doubt. This Scarlatti disc however,tops all. So far it may be the very best time this player has ever spent in a recording studio, and we listeners are very, very fortunate to have access.


Scarlatti spent most of his life at the Spanish and Portuguese court. He eventually penned over five hundred small works, called sonatas; but these works are very much freer in musical form and musical fancy than strict sonata forms would suggest. Scarlatti wrote for himself, and for the Spanish and Portuguese princesses at court whose music tutor he mainly was. If either of those two ladies could handle these small but priceless musical gems, she must have been something more than a young dilettante playing in the court or royal apartments, as this very special music would have immediately lifted her, above even her high royal stations, thanks to the ineffable spiritual openings that this odd and unique keyboard music - rather out of its own time - embodies.

From the larger group, Fou Ts'ong has selected 32 sonatas. He has probably arranged them for contrast, or at least that is the net result of hearing this treasure of a disc right through.

Whattitis?

Just about as good as Scarlatti playing on the modern grand piano gets. That's what.

Scarlatti wrote for the dominant keyboard instrument of his era, which was the harpsichord. Some of his works are sometimes played on the even more intimate clavichord - a household instrument of delicate sound and nuance which would have served in the most private musical moments. Problem is, how may a performer best realize Scarlatti on the modern instrument?

Fou Ts'ong solves this puzzle by adopting a Glenn Gould-like detachè touch; mixed in with plenty of Wilhelm Kempff clarity, mixed in with a remarkable musical intensity of brooding-musing inwardness and fantasy, mixed further yet in, with what seem like passing natural seasons of remarkable tonal color (saturated tonal color, but not so excessive as to light up with anything but bejewelled inner fire, all glowing). Now. This sort of playing cannot be taken for granted, no matter who manages it. I have not particularly heard such inwardness, steeped in fancy and concentration, since the famed set of complete Chopin Nocturnes recorded by legendary Czech player, Ivan Moravec. No waywardness or eccentric mushing about here, though; the music is completely center stage, every note.

Now mixing it up physically like Fou Ts'ong does here might not have worked very well; the disparate elements or dimensions of his playing could easily have fallen apart into discrete elements that did not suit a musical whole. He took great risks taking on Scarlatti like this, and he might well have failed, dismally. Happily, that is not at all the case with this disc.

Is this Scarlatti for people who dislike Scarlatti? Hard to answer. Fou Ts'ong is not about getting our musical attention here with flash - though his readings embody plenty of inwardly banked emotional and musical fire, brought down so dangerously to humanity from Olympus by dear old Prometheus according to ancient Greek myths. One hopes none of us will ever be chained to a rock for daring such musical heights. The nuanced, sparkling, and color palette on display here is unusual, brought up from whatever secret vaults are privy. These special colors and lights are revealed, not for their own sake (even as guarded personal treasure); but rather, shown in heart to heart confidence, shared vulnerably among real friends who love music.

Those who are already Scarlatti fans will no doubt be glad to add this disc to any existing fav shelves, even if already loaded with select, dear choices. Listeners new to the composer may also be persuaded; just do not expect that all Scarlatti will always be played like Fou Ts'ong manages on this disc. If he could lift consistently to this marvelous musical level, I would beg him to do all of the 555 sonatas or so - even knowing the risks ahead of time. Some players do not always do their best work in the recording studio, and perhaps Fou Ts'ong has sometimes been one of them. Here, however, he has been caught by the engineers at something like his better or best, most musically amazing and formidable self. It may be that playing like this when he was younger was what got him the Chopin prize in the first place. Good to know that the mature musician still has, deepened and seasoned, what his earlier piano competition genius suggested he had.

Highly recommended with not one whit of any reservation.--Amazon


Track listing
01. Sonata K32 in D Minor: Sonata K32 in D Minor 1:26
02. Sonata K164 in D: Sonata K164 in D 2:56
03. Sonata K484 in D: Sonata K484 in D 1:17
04. Sonata K318 in F#: Sonata K318 in F# 1:53
05. Sonata K500 in A: Sonata K500 in A 2:00
06. Sonata K474 in E Flat: Sonata K474 in E Flat 2:48
07. Sonata K550 in B Flat: Sonata K550 in B Flat 2:27
08. Sonata K208 in A: Sonata K208 in A 1:54
09. Sonata K107 in F: Sonata K107 in F 2:14
10. Sonata K380 in E: Sonata K380 in E 2:33
11. Sonata K531 in E: Sonata K531 in E 1:31
12. Sonata K210 in G: Sonata K210 in G 2:39
13. Sonata K461 in C: Sonata K461 in C 1:34
14. Sonata K304 in G: Sonata K304 in G 1:39
15. Sonata K99 in C Minor: Sonata K99 in C Minor 3:14
16. Sonata K540 in F: Sonata K540 in F 2:00
17. Sonata K162 in E: Sonata K162 in E 3:04
18. Sonata K163 in E: Sonata K163 in E 0:52
19. Sonata K246 in C# Minor: Sonata K246 in C# Minor 2:06
20. Sonata K247 in C# Minor: Sonata K247 in C# Minor 2:33
21. Sonata K378 in F: Sonata K378 in F 1:32
22. Sonata K379 in F: Sonata K379 in F 1:38
23. Sonata K213 in D Minor: Sonata K213 in D Minor 3:29
24. Sonata K443 in D: Sonata K443 in D 2:39
25. Sonata K262 in B: Sonata K262 in B 2:17
26. Sonata K215 in E: Sonata K215 in E 2:36
27. Sonata K158 in C Minor: Sonata K158 in C Minor 3:09
28. Sonata K193 in E Flat: Sonata K193 in E Flat 2:11
29. Sonata K481 in F Minor: Sonata K481 in F Minor 3:08
30. Sonata K513 in C: Sonata K513 in C 2:42
31. Sonata K394 in E Minor: Sonata K394 in E Minor 3:04
32. Sonata K95 in C: Sonata K95 in C 2:07

Rossini & Verdi Overtures - London SO, Abbado

Rossini & Verdi Overtures - London SO, Abbado
Orchestral | Eac, flac, cue | log, cover | 1 CD, 367 MB
September 6, 2001 | RCA | RapidShare

When Claudio Abbado headed the LSO in the Seventies he was at his most spontaneous and energetic. Listening to this highly charged Rossini overture CD, you'd never suspect that this fiery conductor would turn into the rather careful Rossinian of later years. There are other outstanding Rossini overture records that are warm and classic (Giulini), coolly virtuosic (Reiner and Szell), driven and intense (Toscanini), and excitingly extroverted (Bernstein), but they all sound rame and controlled compared to this CD.

The LSO plays with exceptional vivacity, and the recording from RCA, being bright and forward, adds to the thrills. I'm so glad that all these works aren't played in the jokey, light Rossini style of the Barber of Seville. Semiramide, for example, is a tragedy, and Abbado interprets the overture with more drama and weight than usual. In the Turco in Italia Over. we get a stunning horn obbligato from Barry Tuckwell that's worth the whole price of admisison. The Barber of Seville is full of carefree good humor, William Tell is totally devoid of mannerisms, played as if we haven't all heard it a thousand times--the storm section is a knockout from the LSO brass section, as is the finale mad gallop.

The three Verdi preludes and overtures that fill out this mid-price CD are also very fine, but the real show is Rossini. What a shame that this eye-opening, heart-stopping recording seems to be overlooked.

Rossini - Overture to Semiramide
Rossini - Overture to La scala di seta (The Silken Ladder)
Rossini - Overture to Il turco in Italia (The Turk in Italy)
Rossini - Overture to Il barbière di Siviglia (The Barber of Seville)
Rossini - Overture to Tancredi
Rossini - Overture to Guillaume Tell (William Tell)
Verdi - Overture to Aida
Verdi - Overture to I Vespri siciliani, opera (Les vêpres siciliennes)
Verdi - Overture to La forza del destino

Orchestra: London Symphony OrchestraConductor: Claudio Abbado
Composer: Gioachino Rossini, Giuseppe Verdi
Audio CD (September 6, 2001)
SPARS Code: ADD
Number of Discs: 1
Format: Original recording remastered
Label: RCA

Mozart - Requiem - Riccardo Muti, Berliner Philharmoniker

Mozart - Requiem - Muti, Berliner Philharmoniker
Vocal | Eac, flac, cue | log, cover | 1 CD, 255 MB
May 23, 2006 | EMI | RapidShare

The Requiem or Requiem Mass, also known as the Missa pro defunctis (Latin, "Mass for the deceased") or Missa defunctorum ("Mass of the deceased"), is a liturgical service of the Roman Catholic Church celebrated by the priest presider for the repose of the soul of a particular deceased person or persons. It is frequently, but by no means always, celebrated in the context of a funeral.

Outside the Catholic Church, the ceremony is used in the Anglo-Catholic branch of Anglicanism and in certain Lutheran churches. A comparable service, with a wholly different ritual form and texts, exists in the Eastern Orthodox and Eastern Catholic Churches.

The term "Requiem" is the accusative form of the Latin noun requies (rest, repose). The introit of the liturgy begins with the words "Requiem aeternam dona eis, Domine" - "Grant them eternal rest, O Lord".

The Requiem Mass is notable for the large number of musical compositions that it has inspired, including the requiems of Mozart, Verdi and Fauré. Originally, such compositions were meant to be performed in liturgical service, with monophonic chant. Eventually the dramatic character of the text began to appeal to composers to an extent that they made the requiem a genre of its own, and the requiems of composers such as Verdi are essentially concert pieces rather than liturgical works.

Celebrations of the Requiem Mass were often referred to as "black Masses", from the colour of the vestments worn by the priest and the altar cloths. The term has no connection with the Satanist ritual of the same name. Since the liturgical reform of 1969-1970, the black colour has been replaced with purple.

CD Content

Mozart - Mass No. 19 in D minor, 'Requiem' K626
Mozart - Ave Verum Corpus KV.618


James Morris - Basse
Frank Lopardo - Ténor
Waltraud Meier - Mezzo-Soprano
Patrizia Pace - Soprano

Berliner Philharmoniker

Stockholm Chamber Choir,
Swedish Radio Chorus

Conductor: Riccardo Muti


more info here