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Monday, May 4, 2009

Mahler - complete symphonies - Bernard Haitink

Tracklist

Mahler - Symphonies 1-10 (Adagio)
Royal Concertgebouw Orchestra
Recorded 1962-1971

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JOSQUIN des PRES (c.1440-1521) Masses" Malheur me bat- Fortuna desperata" - The Tallis Scholars - Peter Phillips

JOSQUIN des PRES (c.1440-1521) Masses" Malheur me bat- Fortuna desperata" - The Tallis Scholars - Peter Phillips
NEW !!! | DDD | TT: 75:27 | APE (EAC Rip) + CUE + LOG files | scans ( complete booklet + covers) | 332 MB + 45 MB (scans)
Recorded in the Chapel of Merton College , 2009

“

The Mass-settings included on this disc are two of the finest to come from any pen. They are linked by having secular polyphonic songs as their models, coincidentally neither of which are safely attributed to any single composer. Malheur me bat is probably not by Ockeghem but by a little-known Flemish composer called Malcort, whose obscurity should not detract from the beauty of his song, nor from the fact that it became a favourite model for Mass-settings by composers active around the year 1500. How strange, then, that not one of the nine sources for it provides any words apart from the title - the performance given by The Tallis Scholars at the 2008 Promenade Concerts in the Royal Albert Hall, London, was made possible by commissioning a contemporary poet - Jacques Darras - to complete the text. The attribution of Fortuna desperata to Antoine Busnoys is more secure, though the manu script evidence is not conclusive.

The two Masses sung here are also linked by the way Josquin borrowed his material from the chansons. Both of these chansons were three-voice compositions. Before Josquin the normal procedure in basing a Mass-setting on a chanson was to take one of the original voice-parts, often the tenor, and derive all the motifs to be used in the Mass from it. This was called paraphrasing a melody. However in these two settings Josquin went a stage further by plundering all three of the voice parts for quotable material, at a stroke tripling the stock of ideas he could draw on. Thus the art of parodying a poly phonic model was born, in which tradition Missa Fortuna desperata, which is reckoned to be earlier than Missa Malheur me bat, was one of the first. We can hear Josquin refining and developing these techniques in Missa Malheur me bat. Peter Phillips

”

Performers:

The Tallis Scholars directed by Peter Phillips

Missa Malheur me bat:

Superius Tessa Bonner, Sally Dunkley, Caroline Trevor

Altus Andrew Carwood, Steven Harrold

Tenor Nicolas Todd, Christopher Watson

Bassus Donald Greig, Robert Macdonald

with, in Agnus Dei III

Altus: Mark Dobell, Julian Stocker
Bassus: Jonathan Arnold, Stephen Charlesworth

Missa Fortuna desperata:

Altus Tessa Bonner, Caroline Trevor, David Gould

Tenor Andrew Carwood, Nicolas Todd

Tenor Mark Dobell, Christopher Watson

Bassus Robert Macdonald, Tim Scott Whiteley

with, in the Agnus Dei

Bassus: Andrew Westwood

Track listings
1. Missa Malheur me bat: I. Kyrie
2. Missa Malheur me bat: II. Gloria
3. Missa Malheur me bat: III. Credo
4. Missa Malheur me bat: IV. Sanctus & Benedictus
5. Missa Malheur me bat: V. Agnus Dei I, II & III
6. Missa Fortuna desperata: I. Kyrie
7. Missa Fortuna desperata: II. Gloria
8. Missa Fortuna desperata: III. Credo
9. Missa Fortuna desperata: IV. Sanctus & Benedictus
10. Missa Fortuna desperata: V. Agnus Dei I & II

no mirror please !
infos

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Itzhak Perlman The American Album

The great Itzhak Perlman performs Bernstein's Serenade (after Plato: Symposium), for violin, harp, percussion & strings; Barber's Violin Concerto, Op. 14; and Lukas Foss' Three American Pieces, with Seiji Ozawa conducting the Boston Symphony and Jules Eskin (piano).

Track Listing
Bernstein, Leonard: Serenade (after Plato: Symposium), for violin, harp, percussion & strings
1. Serenade: I. Phaedrus: Pausanias (Lento - Allegro marcato) (6:33)
2. Serenade: II. Aristophanes (Allegretto) (4:23)
3. Serenade: III. Eryximachus (Presto) (1:31)
4. Serenade: IV. Agathon (Adagio) (7:00)
5. Serenade: V. Socrates: Alcibiades (Molto tenuto - Adagio - Allegro molto vivace) (10:39)

Barber, Samuel: Violin Concerto, Op. 14
6. Concerto for Violin and Orchestra, Op. 14: I - Allegro (10:21)
7. Concerto for Violin and Orchestra, Op. 14: II - Andante (8:10)
8. Concerto for Violin and Orchestra, Op. 14: III - Presto in moto perpetuo (3:50)

Foss, Lukas: Three American Pieces
9. 3 American Pieces: Early Song (Andante) (4:57)
10. 3 American Pieces: Dedication (Lento) (4:33)
11. 3 American Pieces: Composer's Holiday (Allegro) (2:49)

Itzhak Perlman, violin
Boston Symphony Orchestra
Conducted by Seiji Ozawa
Jules Eskin, piano

Downloads
http://rapidshare.com/files/227405942/Lappy_PerlmanVn.part1.rar
http://rapidshare.com/files/227421011/Lappy_PerlmanVn.part2.rar
http://rapidshare.com/files/227447089/Lappy_PerlmanVn.part3.rar
http://rapidshare.com/files/227447091/Lappy_PerlmanVn.part4.rar

Ripped from 1995 CD.

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Thursday, April 30, 2009

VA - Classical Album (2005)

his 2CD set is the ultimate guide to crossover classical music and includes all of the biggest classical musicians from the likes of Luciano Pavarotti, Andrea Bocelli, Russell Watson & The Three Tenors through to the rising talents of Hayley Westenra, Katherine Jenkins, Amici Forever & Vanessa Mae.

Track list
Disc: 1
1. Never Say Goodbye (Adapted from "Pavane") - Hayley Westenra
2. Amore e Musica - Russell Watson
3. Time To Say Goodbye - Katherine Jenkins
4. Granada - Bryn Terfel, London Symphony Orchestra, Barry Wordsworth
5. Song to the Moon (from Rusalka) - Lesley Garrett
6. The Unknown Soldier [Riders on the Storm - The Doors Concerto] - Kennedy, Tran Quang Hai, Prague Symphony Orchestra, Peter Scholes
7. Nuns' Chorus - Kiri Te Kanawa, The Mormon Tabernacle Choir, Utah Symphony, Julius Rudel
8. Prayer in the Night - Amici Forever
9. Be My Love - Mario Lanza
10. The Flight of the Bumble-Bee - Julian Lloyd Webber, English Chamber Orchestra, Nicholas Cleobury
11. Una Mattina - Ludovico Einaudi
12. Ave Maria (arr. from Intermezzo from "Cavalleria Rusticana" - Angela Gheorghiu, London Philharmonic Orchestra, Ion Marin
13. Harry Potter And The Prisoner of Azkaban - The City Of Prague Philharmonic, Nic Raine
14. Crucifixus (8-Part) - The Sixteen, Harry Christophers
15. "Quando me'n v≥" (Musette's Waltz) - Anna Netrebko, Gianandrea Noseda, Wiener Philharmoniker
16. Ti adoro - Luciano Pavarotti, Stefano "Tellus" Nanni, Kameron Brown, Michele Centonze, Fabio Sartoni, Marco Tamburini, Piero Odorici, Roberto Rossi, Veris Giannetti, Bulgarian Symphony Orchestra
17. In Paradisum - Sissel
18. La donna Φ mobile - Juan Diego Fl≤rez, Orchestra Sinfonica di Milano Giuseppe Verdi, Carlo Rizzi
19. Resurrection (from The Passion of the Christ) - Lenka Pecharova, City of Prague Philharmonic Orchestra, James Fitzpatrick
20. The Entertainer - Emma Johnson 21. O Come O Come Emmanuel - Aled Jones
Disc: 2
1. O Sole Mio - Andrea Bocelli, Vladimir Fedoseyev, Moscow Radio Symphony Orchestra, Victor Popov, Academy Of Choir Art Of Russia
2. Sabre Dance - Vanessa Mae
3. "Questa o quella" (Ballata) (Duca) - Plβcido Domingo, Wiener Philharmoniker, Carlo Maria Giulini
4. Annie's Song - Arranged by Charles Gerhardt; adapted by Craig Leon - James Galway, London Symphony Orchestra, Klauspeter Seibel
5. Vespera - Libera
6. River of Dreams (adapted from "Winter") - Hayley Westenra
7. Cavatina (Theme from The Deerhunter) - John Williams
8. Explosive - Bond
9. Vide cor meum - Katherine Jenkins
10. Distant Land - John Rutter, Melanie Marshall, The Cambridge Singers, Royal Philharmonic Orchestra
11. "Pa-Pa-Pa-Pa-Pa-Pa-Papagena!" - Cecilia Bartoli, Bryn Terfel, Orchestra dell'Accademia Nazionale di Santa Cecilia, Myung-Whun Chung
12. "Lascia ch'io pianga" - Renée Fleming, Orchestra Of The Age Of Enlightenment, Harry Bicket
13. The Mass - Era
14. Panis Angelicus - The Choir of King's College, Cambridge, James Vivian, Stephen Cleobury
15. Kanon in D major - Duel, London Session Orchestra, Gavin Wright
16. Into The West - City of Prague Philharmonic Orchestra, Crouch End Festival Chorus, Nic Raine
17. Now We Are Free - vocal mix - Myleene Klass
18. "Voi che sapete" - Magdalena Kozenβ, Prague Philharmonia, Michel Swierczewski 19. Blow The Wind Southerly - Kathleen Ferrier
20. Quanta Qualia - Janet Coxwell, English Chamber Orchestra, Conventus, Patrick Hawes

Links:

http://rapidshare.com/files/225431040/The_Classical_Album_2005_CD1.part1.rar
http://rapidshare.com/files/225429718/The_Classical_Album_2005_CD1.part2.rar
http://rapidshare.com/files/225431039/The_Classical_Album_2005_CD1.part3.rar
http://rapidshare.com/files/225431018/The_Classical_Album_2005_CD1.part4.rar

http://rapidshare.com/files/225429686/The_Classical_Album_2005_CD2.part1.rar
http://rapidshare.com/files/225480427/The_Classical_Album_2005_CD2.part2.rar
http://rapidshare.com/files/225495574/The_Classical_Album_2005_CD2.part3.rar
http://rapidshare.com/files/225495515/The_Classical_Album_2005_CD2.part4.rar

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Tuesday, April 28, 2009

Fritz Kreisler - Hall of Fame (2002)

“

Violinist Fritz Kreisler was one of the most beloved and best known of early recording era musicians. His burnished tone and patrician phrasing were quintessentially Viennese, and the warmth of his playing won him devoted followers wherever he appeared. So great was his fame and the affection in which he was held that he survived a blaze of controversy when he revealed in 1935 that many of the short pieces he had performed as transcriptions of such composers as Couperin, Vivaldi, and Pugnani were, in fact, his own work. While the critics fumed, the public expressed little concern and continued to pack his concert appearances. ~

allmusic.com

”

“

Fritz Kreisler (February 2, 1875 – January 29, 1962) was an Austrian-born violinist and composer; one of the most famous violinists of his day. He is noted for his sweet tone and expressive phrasing. Like many great violinists of his generation, he produced a characteristic sound, which was immediately recognizable as his own. Although he was a violinist of the Franco-Belgian school, his style is nonetheless reminiscent of the gemütlich (cozy) lifestyle of pre-war Vienna.

Kreisler's personal style of playing on record bears a resemblance to Mischa Elman with a tendency towards expansive tempi, a continuous and varied vibrato, remarkably expressive phrasing, and a melodic approach to passage work. Kreisler employs considerable use of portamento and rubato. However considerable performance contrasts exist between Kreisler and Mischa Elman on the shared standard repertoire with the concerto of Felix Mendelssohn serving as one example.

He performed and recorded his own version of the Paganini D major violin concerto-first movement. This version is rescored and in some places reharmonised. The orchestral introduction is completely rewritten in some places. The overall effect is of a late nineteenth century work. ~ Wikipedia

”

Contents

1. Violin Concerto In D Major Op.61, Recorded In 1926 (Ludwig Van Beethoven)
2. Sonata For Piano And Violin In A Major Op.30/1, Franz Rupp, Piano, Recorded in 1936
3. Concerto For Violin And String Orchestra In C Major (In The Style Of Vivaldi), recorded In 1945 (Fritz Kreisler)
4. String Quartet in A Minor, Recorded In 1935
5. Caprice Viennois Op.2, Franz Rupp, Piano, Recorded in 1936
6. Tambourin Chinois Op.3, Franz Rupp, Piano, Recorded in 1936
7. Schon Rosmarin, Franz Rupp, Piano, Recorded in 1938
8. La Gitana, Franz Rupp, Piano, Recorded in 1938
9. Liebesleid, Franz Rupp, Piano, Recorded in 1938
10. Polichinelle, Michael Raucheisen, Piano, Recorded in 1930
11. Violin Concerto in E Minor Op.64, Recorded in 1926 (Felix Mendelssohn Bartholdy)
12. Lieder Ohne Worte, Op.62/1, Arpad Sandor, Piano, Recorded in 1926
13. Double Concerto In D Minor Bwv 1043, Recorded in 1915 (Johann Sebastian Bach)
14. Sonata For Solo Violin No.1 In G Minor Bwv 1001 (Excerpt), Recorded in 1926
15. Violin Concerto in D Major Op.77/ London Philharmonic Symphony Orch., John Barbirolli, recorded in 1936 (Johannes Brahms)
16. Violin Concerto No.4 in D Major K.218/ London Philharmonic Orch., Malcolm Sargent, recorded in 1939 (Wolfgang Amadeus Mozart)
17. Violin Concerto No.1 in D Major Op.6 (Excerpt), Recorded in 1938 (Nicolo Paganini)
18. Sonata For Piano And Violin in A Major D.574, Sergey Rachmaninov, piano, recorded in 1928 (Franz Schubert)
19. Romance In A Major Op.94/2 (Arr. Kreisler), Michael Raucheisen, piano, recorded in 1927 (Robert Schumann)
20. Sonata For Piano And Violin No.3 in C Minor Op.45, Michael Raucheisen, piano, recorded in 1928 (Edvard Hagerup Grieg)

Track Listings

CD 1

CD 2

CD 3

CD 4

CD 5

Product Details
Audio CD (2002)
Number of Discs: 5
TIM The International Music Company
AG 220042-220046

Download link
Password: Vienna

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Joseph Haydn - Symphonies 82, 88 & 95 (Fey Haydn Project Volume 3)

Works

1. (00:07:56) Symphony No. 82 in C »L'Ours«: I. Vivace assai
2. (00:06:27) Symphony No. 82 in C »L'Ours«: II. Allegretto
3. (00:05:05) Symphony No. 82 in C »L'Ours«: III. Menuet
4. (00:07:22) Symphony No. 82 in C »L'Ours«: IV. Finale: Vivace
5. (00:06:32) Symphony No. 88 in G: I. Adagio - Allegro
6. (00:06:52) Symphony No. 88 in G: II. Largo
7. (00:03:37) Symphony No. 88 in G: III. Menuetto. Allegretto
8. (00:03:56) Symphony No. 88 in G: IV. Finale: Allegro con spirito
9. (00:06:46) Symphony No. 95 in C minor: I. Allegro moderato
10. (00:04:33) Symphony No. 95 in C minor: II. Andante cantabile
11. (00:05:14) Symphony No. 95 in C minor: III. Menuet
12. (00:03:41) Symphony No. 95 in C minor: IV. Finale: Vivace

Performers

Heidelberger Sinfoniker
Thomas Fey

Recording Information

recorded Spring 2001
released in 2001

hänssler CLASSIC
CD 98.391

“

This disc is simply stunning. Thomas Fey and his Heidelberg orchestra attack "The Bear" with unbridled ferocity and brilliance, offering dazzling evidence of why in their day Haydn's symphonies came to be regarded as the ultimate examples of orchestral composition. There's no soft-pedaling here! Listen to the symphony's finale, to the uninhibited high spirits that characterize its folk-influenced themes, to the complete bravura Fey encourages his players to display (particularly the trumpets and drums). The work's opening rhythmic tattoos cut through the texture with tremendous force but never become coarse or merely noisy, and the second subject, with the solo bassoon providing the only bass note, seldom has sounded so deliciously faux-naïve. An elegantly flowing Allegretto second movement and rhythmically charged minuet complete this well-nigh perfect picture.

Symphony No. 88, that joyous gem of a piece, makes a similarly powerful impression. Note how Fey, almost alone among conductors, makes sure that you really hear the principal theme of the slow movement's melodic suspension across the bar line. (The first limb of the tune actually has only five notes--in syncopated rhythm--but most performances smooth out this detail by allowing the solo cello and oboe to yield center stage to the accompaniment's downbeat in the second bar. This makes it sound as though the phrase has six notes rather than five.) For once you can hear this music with the rhythmic tension that Haydn built into it, and when the trumpet and drums make their belated entrance they hit you with the same shock that audiences in Haydn's day must have experienced.

The Menuetto of this symphony, or more specifically its trio, offers another classic example of Fey being the first conductor to really "get it right". How many people have fallen in love with this symphony, and with Haydn in particular, through this enchanting pastoral interlude, with its bagpipe bass line and chirping oboe melody? But who, aside from Fey, really has his bassoon hitting the drones fortissimo as Haydn specifies, and allows the horns similarly to play forte, all in a quiet context? It's an episode with a Mahlerian wealth of simultaneous dynamic detail, and one in which you will almost never hear what Haydn actually wrote. Well here you finally do, and the result is spectacular. The finale breezes along with crystal clear textures (particularly the triple canon that comprises its second episode), and a coda that strikingly evokes a certain familial resemblance to the end of Beethoven's Seventh Symphony.

Symphony No. 95, the stepchild of the London Symphonies, has been neglected largely because of the mature Haydn's attitude toward music in minor keys. After working through his terrifying "Sturm und Drang" middle period Haydn came to treat minor keys not as something tragic, but more as a source of musical color and energy. Audiences used to Mozartian minor-key pathos or Beethoven's tragic grandeur always have found Haydn's fundamentally cheerful approach and more obviously intellectual rigor harder to take. And yet this symphony contains in its finale not only one of the most ravishing tunes that Haydn ever penned, but a contrapuntal tour-de-force comparable to what Mozart achieved in the finale of his Jupiter Symphony. As we might have predicted, Fey plays the pants off this finale, but he also injects more forward-driving energy and purpose into the first movement's half-serious minor-key escapades than any other version. He also wrings every drop of grimness from the third movement Menuet, emotionally speaking the darkest music in the symphony (and how typical of Haydn to shift the expressive center of gravity to this unexpected place!).

Hänssler has captured all of this in sonics that offer both the clarity the music requires and enough space for the climaxes to expand impressively. In a series that has gone from strength to strength, this issue truly stands out as something exceptional. Now for the disclaimer: some readers may have noticed that this writer contributed booklet notes for early issues in this series. This is no longer the case or I wouldn't be writing this review now. Frankly, it's much more fun to be able to review the discs and recommend them to you, which is one reason I stopped writing the notes; but if this prior association leads you to question my objectivity then by all means take this into consideration if you are thinking about purchasing this disc. Better yet, try to listen and decide for yourself. There is no finer Haydn symphony disc currently available. (David Hurwitz on classicstoday.com

”

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Grechaninov: Symphony 5 / Missa oecumenica

“

Who would have thought it? An intégrale of Grechaninov's quintet of symphonies. The cycle is brought to culmination with every Chandos virtue thumpingly asserted. Polyansky and all the artists are on at least decent form and the conductor keeps things moving along nicely contrary to his form in the Glazunov symphony cycle. The choir excels. The recording is big and bold without being in your lap.

”

Performer: Ludmila Kuznetsova, Tatiana Sharova, Oleg Dolgov
Conductor: Valery Polyansky
Composer: Alexander Grechaninov
Performer : Russian State Symphony Orchestra
Dmitry Fadeyev, bass
Ludmila Kuznetsova, mezzo-soprano
Oleg Dolgov, tenor
Margarita Koroleva, organ
Tatyana Sharova, soprano

Tracks List

Missa oecumenica, Op. 142

1. Kyrie - 5:59
2. Gloria - 5:15
3. Credo - 8:53
4. Sanctus - 6:27
5. Benedictus - 6:21
6. Agnus Dei - 9:04

Symphony No. 5 in G minor, Op. 153

07. I. Maestoso - 10:33
08. II. Andante - 11:40
09. III. Scherzo: Allegro - 5:46
10. IV. Finale: Allegro moderato - 9:12

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Schubert - Symphonies 8 and 9 - Munch - Boston Symphony

“

Charles Munch's Schubert Ninth is my personal favorite performance. It is unbelievably exciting, with the orchestra playing as if its collective life depended on it. No other version of the scherzo even comes close to this one for sheer rhythmic energy, and while the finale may not be the subtlest interpretation on disc, it's probably the most physical. Only at the end of the first movement (nearly always rescored in some fashion) does Munch let the brass go crazy in a way that some listeners may find over the top--but then the basic problem here is of Schubert's own making, and if this is vulgar, then it's healthy vulgarity. The "Unfinished" is scarcely less fine.

”

Orchestra: Boston Symphony Orchestra
Conductor: Charles Münch
Composer: Franz Schubert

Trackslist

1. - 2. - Symphony no 8 in B minor, D 759 "Unfinished"
Allegro moderato - Andante con moto

3. - 6. - Symphony no 9 in C major, D 944 "Great"
Allegro ma non troppo - Andante con moto - Allegro vivace - Finale Allegro vivace

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Friday, April 24, 2009

Gustav Leonhardt: Jubilee Edition. 15CD Sony - 2008

Gustav Leonhardt: Jubilee Edition. 15CD
2008 | Classical | eac wv cue log covers | 15CD ~5GB
Sony / 88697318972

“

Gustav Leonhardt (born May 30, 1928, 's-Graveland) is a highly acclaimed Dutch keyboard player, conductor, musicologist, teacher and editor. Leonhardt has been a leader in the movement to perform music on period instruments. The keyboard instruments on which he has performed and recorded include the harpsichord, pipe organ, claviorganum (a combination of a harpsichord and an organ), clavichord, and fortepiano.
From 1947 to 1950 Gustav Leonhardt studied organ and harpsichord with Eduard Müller at the Schola Cantorum in Basel. He made his debut as a harpsichordist in Vienna in 1950 and studied musicology there. He served as professor of harpsichord at the Academy of Music from 1952 to 1955 and as professor of harpsichord at the Amsterdam Conservatory from 1954. He also was a church organist.
Leonhardt made his first recordings of Johann Sebastian Bach's works for harpsichord in the early 1950s. These recordings established his reputation as a fine harpsichordist and brilliant Bach interpreter. In 1954 he led the Leonhardt Baroque Ensemble with the great English counter-tenor Alfred Deller in a pioneering recording of two Bach cantatas. The Ensemble included his wife Marie Leonhardt and Eduard Melkus (violins), Alice Hoffelner (viola), Nikolaus Harnoncourt (cello), and Michel Piguet (oboe).
Although Leonhardt has performed and conducted a diversity of music from the Baroque and Classical music era periods, he is particularly known for his recording series, which he shared with Harnoncourt, of Bach's complete cantatas spanning twenty years, from 1971 to 1990.

wikipedia

”

Gustav Leonhardt (Conductor, Harpsichord, Organ)
Gustav Leonhardt: Jubilee Edition

Tracklist:

CD01: 331MB
J.S. Bach - Goldberg Variations BWV 988
1. Aria - 2:29
2. Variatio 1, a 1 Clav. - 1:33
3. Variatio 2, a 1 Clav. - 1:04
4. Variatio 3, a 1 Clav. Canone alla Seconda - 1:00
5. Variatio 4, a 1 Clav. - 0:34
6. Variatio 5, a 1 ovvero 2 Clav. - 1:00
7. Variatio 6, a 1 Clav. Canone alla Seconda - 1:00
8. Variatio 7, a 1 ovvero 2 Clav. Al tempo di Giga - 1:04
9. Variatio 8, a 2 Clav. - 1:18
10. Variatio 9, a 1 Clav. Canone alla Terza - 1:10
11. Variatio 10, a 1 Clav. Fughetta - 0:52
12. Variatio 11, a 2 Clav. - 1:25
13. Variatio 12, Canone alla Quarta - 1:53
14. Variatio 13, a 2 Clav. - 2:38
15. Variatio 14, a 2 Clav. - 1:20
16. Variatio 15, a 1 Clav. Canone alla Quinta, Andante - 2:50
17. Variatio 16, a 1 Clav. Ouverture - 1:26
18. Variatio 17, a 2 Clav. - 1:02
19. Variatio 18, a 1 Clav. Canone alla Sesta - 0:44
20. Variatio 19, a 1 Clav. - 0:58
21. Variatio 20, a 2 Clav. - 1:14
22. Variatio 21, Canone alla Settima - 1:55
23. Variatio 22, a 1 Clav. Alla breve - 0:46
24. Variatio 23, a 2 Clav. - 1:20
25. Variatio 24, a 1 Clav. Canone all’Ottava - 1:53
26. Variatio 25, a 2 Clav. Adagio - 4:07
27. Variatio 26, a 2 Clav. - 1:13
28. Variatio 27, a 2 Clav. Canone alla Nona - 0:57
29. Variatio 28, a 2 Clav. - 1:33
30. Variatio 29, a 1 ovvero 2. Clav. - 1:11
31. Variatio 30, a 1 Clav. Quodlibet - 1:06
32. Aria da capo - 2:29
Gustav Leonhardt (harpsichord)

CD2: 297MB
J.S. Bach at St.Laurenskerk, Alkmaar
1. Toccata in D minor, BWV 913 - 14:46
2. Liebster Jesu, wir sind hier, BWV 731 - 2:49
3. Christ lag in Todes Banden, BWV 718 - 5:27
4. Valet will ich dir geben, BWV 736 - 4:15
5. Lobt Gott, ihr Christen allzugleich, BWV 732 - 1:34
6. Kyrie Gott Vater in Ewigkeit, BWV 669 - 1:48
7. Christe, aller Welt Trost, BWV 670 - 1:39
8. Kyrie Gott heiliger Geist, BWV 671 - 1:45
9. Allein Gott in der H?h sei Ehr, BWV 675 - 2:59
10. Fughetta super "Allein Gott in der H?h’ sei Ehr", BWV 677 - 1:13
11. Fughetta super "Dies sind die heilgen zehn Gebot", BWV 679 - 1:51
12. Fughetta super "Wir glauben all an einen Gott", BWV 681 - 1:21
13. Vater unser im Himmelreich, BWV 683 - 1:39
14. Christ, unser Herr, zum Jordan kam, BWV 684 - 1:56
15. Aus tiefer Not schrei’ ich zu dir, BWV 687 - 6:00
16. Fuga super "Jesus Christus unser Heiland", BWV 689 - 4:35
17. Prelude and Fugue in E minor, BWV 533 - 4:53
Gustav Leonhardt (organ)

CD3: 229MB
The Organ in the Renaissance and Baroque. Alpenlaender
1. Pavan (from The Mulliner Book, c. 1560) - Instrumental
NEWMAN (fl. c. 1583) 2:07
2. "Wer das T?chterlein haben will" from Orgel oder Instrument Tabulaturbuch (1571) - Instrumental
ELIAS NIKOLAUS AMMERBACH (c. 1530-1597) 1:01
3. Pavan and Galliard (from the Dublin Virginal Book, c. 1570) - Instrumental
"MASTER" TAYLOR (fl. mid 16th cent. ) 2:38
4. Eterne rerum (Conditur from The Mulliner Book, No. 51) - Instrumental
JOHN BLITHEMAN (1525-1591) 1:26
5. Pavan and Galliard (from the Dublin Virginal Book, No. 21) - Instrumental
TRADITIONAL (mid 16th cent. ) 2:43
6. Gagliarda "Cathaccio" (Intabolatura Nova di Balli, Venedig, 1551) - Instrumental
TRADITIONAL (mid 16th cent. ) 0:45
7. Gagliarda "Lodesana" (Intabolatura Nova di Balli, Venedig, 1551) - Instrumental
TRADITIONAL (mid 16th cent. ) 1:03
8. Toccata and Fugue in B-flat Major - Instrumental
JOHANN PACHELBEL (1653-1706) 2:28
9. Chorale "Alle Menschen m?ssen sterben" - Instrumental
JOHANN PACHELBEL (1653-1706) 1:12
10. Toccata con durezza e ligature - Instrumental
JOHANN KASPAR KERLL (1627-1693) 5:33
11. Magnificat-Fugue No. 5 in F Major - Instrumental
JOHANN PACHELBEL (1653-1706) 1:39
12. Un cromatico ovvero Capricio (primo tuono per le semetoni) - Instrumental
TARQUINIO MERULA (1594 or 1595-1665) 4:19
13. Canzone francese (No. 7) - Instrumental
BERNARDO PASQUINI (1637-1710) 2:45
14. Ricercare (No. 4) - Instrumental
BERNARDO PASQUINI (1637-1710) 5:48
15. Magnificat-Fugue No. 10 (sextitoni) - Instrumental
JOHANN PACHELBEL (1653-1706) 1:29
16. Magnificat-Fugue No. 4 (septimi toni) - Instrumental
JOHANN PACHELBEL (1653-1706) 2:20
17. Magnificat-Fugue No. 13 (octavi toni) - Instrumental
JOHANN PACHELBEL (1653-1706) 1:12
18. Praeludium and Fugue in G Major - Instrumental
FRIEDRICH WILHELM ZACHOW (1663-1712) 3:11
Gustav Leonhardt (organ)

CD4: 241MB
The Organ in the Renaissance and Baroque. Netherlands
1. Praeludium und Fuge, G minor (H 25)
DIETRICH BUXTEHUDE (1636-1707) 6:52
2. Magnificat 2. Toni (4 verse)
MATTHIAS WECKMANN (1621-1674) 8:25
3. Christe, Du Lamm Gottes, BWV 619 (in Canone alla Duodecima)
JOHANN SEBASTIAN BACH (1685-1750) 1:31
4. Allein Gott in der H?h’ sei Ehr’, BWV 711
JOHANN SEBASTIAN BACH (1685-1750) 2:58
5. Christus, der uns selig macht, BWV 620 (in Canone all’ Ottava)
JOHANN SEBASTIAN BACH (1685-1750) 2:38
6. Praeludium Nr. 9
HEINRICH SCHMEIDEMANN (ca. 1596-1663) 1:43
7. Ich ruf’ zu Dir, Herr Jesu Christ (4 Variationen)
JAN PIETERSZOON SWEELINCK (1562? -1621) 9:21
8. In Dich Hab’ ich gehoffet, Herr (Nr. 26)
HEINRICH SCEIDEMANN (ca. 1596-1663) 6:01
9. Ciacona (1690)
GEORG MUFFAT (1653-1704) 3:35
10. Passacaglia (aus "Urania," 1738)
JOHANN CASPAR FERDINAND FISCHER (? -1746) 6:10
Gustav Leonhardt (organ)

CD5: 423MB
Weckman and Froberger - Toccatas an Suites
1. [Suite] in B minor (Praeludium - Allemanda - Courante - Sarabande - Gigue) - Instrumental
MATTHIAS WECKMAN (c. 1616-1674) 7:47
2. Toccata in E minor - Instrumental
MATTHIAS WECKMAN (c. 1616-1674) 2:37
3. Toccata in A minor - Instrumental
MATTHIAS WECKMAN (c. 1616-1674) 4:31
4. [Suite] in D minor (Allemand - Courant - Sarabanda - Gigue) - Instrumental
MATTHIAS WECKMAN (c. 1616-1674) 6:13
5. [Suite] in C minor (Allemanda - Gigue - Courant - Saraband mit Double) - Instrumental
MATTHIAS WECKMAN (c. 1616-1674) 6:49
6. Canzon in C Major - Instrumental
MATTHIAS WECKMAN (c. 1616-1674) 3:05
7. Toccata in D minor - Instrumental
MATTHIAS WECKMAN (c. 1616-1674) 3:01
8. Tombeau sur la mort de Monsieur Blancrocher (Paris, 1652) - Instrumental
Froberger, Johann Jakob 5:07
9. [Suite] in E minor (No. 7, DT?) (Allemande - Gigue - Courante - Sarabande) - Instrumental
Froberger, Johann Jakob 10:08
10. Capriccio in C Major (No. 6, DT?) - Instrumental
Froberger, Johann Jakob 4:18
11. Ricercar in D minor (No. 11, DT?) - Instrumental
Froberger, Johann Jakob 2:48
12. [Suite] in A Major (No. 8, DT?) (Allemande - Gigue - Courante - Sarabande) - Instrumental
Froberger, Johann Jakob 6:35
Gustav Leonhardt (harpsichord)

CD6: 380MB
Georg Boehm - Keyboard Works
1. Praeludium in G minor - Instrumental 6:56
2. I. Allemande - Instrumental 2:16
3. II. Courante - Instrumental 1:01
4. III. Sarabande - Instrumental 1:54
5. IV. Gigue - Instrumental 1:25
6. Capriccio in D Major - Instrumental 4:51
7. Choralpartita \"Wer nur den lieben Gott l?sst walten\" 7 Variations - Instrumental 8:18
8. I. Ouverture - Instrumental 4:09
9. II. Air - Instrumental 1:43
10. III. Rigaudon - Trio - Instrumental 2:32
11. IV. Rondeau - Instrumental 1:44
12. V. Menuet - Instrumental 1:09
13. VI. Chaconne - Instrumental 3:37
14. I. Allemande - Instrumental 2:43
15. II. Courante - Instrumental 1:06
16. III. Sarabande - Instrumental 1:26
17. IV. Ciaccona - Passacaille - Instrumental 2:27
18. Choralpartita \"Ach wie nichtig, ach wie fluchtig\" 8 Variations - Instrumental 5:10
19. I. Allemande - Instrumental 3:10
20. II. Courante - Instrumental 1:33
21. III. Sarabande - Instrumental 1:37
22. IV. Gigue - Instrumental 1:54
Gustav Leonhardt (harpsichord, clavichord)

CD7: 338MB
Domenico Scarlatti - Harpsichord Sonatas
1. Sonata in A minor, K 3 - Instrumental 3:05
2. Sonata in F minor, K 185/184 - Instrumental 7:36
3. Sonata in B minor, K 227 - Instrumental 3:43
4. Sonata in F minor, K 238/239 - Instrumental 7:02
5. Sonata in D minor, K 52 - Instrumental 4:24
6. Sonata in E-flat Major, K 192/193 - Instrumental 7:25
7. Sonata in A Major, K 208/209 - Instrumental 6:20
8. Sonata in E-flat Major, K 252/253 - Instrumental 6:32
9. Sonata in D minor, K 191 - Instrumental 2:24
Gustav Leonhardt (harpsichord)

CD8: 325MB
Louis Couperin - Suites and Pavane
1. Prelude ? l’imitation de Mr. Froberger 7:04
2. Allemande 3:23
3. Courante La Mignonne 1:18
4. Sarabande 3:01
5. Menuet 1:53
6. La Pi?montoise 1:42
7. Prelude 3:25
8. Allemande 2:59
9. Courante 1:25
10. Sarabande 1:21
11. Chaconne 3:22
12. Pavane in F sharp minor 6:48
13. Pr?lude 2:40
14. Allemande grave 4:03
15. Courante 1:10
16. Sarabande 1:22
17. Branle de Basque 0:44
18. Gaillarde 0:58
19. Chaconne 2:39
20. Tombeau de Monsieur Blancrocher 5:12
Gustav Leonhardt (harpsichord)

CD9: 469MB
Masterpieces of French Harpsichord Music
1. Les tendres plaintes (1724) Rameau, Jean-Philippe 3:11
2. La Follette Rameau, Jean-Philippe 1:27
3. L’Entretien des Muses Rameau, Jean-Philippe 5:30
4. Les Tourbillons Rameau, Jean-Philippe 1:48
5. Menuets Rameau, Jean-Philippe 2:49
6. Sarabande Rameau, Jean-Philippe 2:27
7. L’Enharmonique Rameau, Jean-Philippe 6:07
8. Prelude Le Roux, Gaspard 1:16
9. Allemande Le Roux, Gaspard 3:05
10. Courante Le Roux, Gaspard 1:30
11. Menuet Le Roux, Gaspard 0:55
12. Chaconne Le Roux, Gaspard 3:54
13. Les tendres sentiments Royer, Joseph-Nicolas-Pancrace 4:51
14. Le Majesteuse Royer, Joseph-Nicolas-Pancrace 2:54
15. La Sensible Royer, Joseph-Nicolas-Pancrace 3:58
16. La Boucon, Courante in C minor Duphly, Jacques 5:26
17. Menuet in C minor Duphly, Jacques 3:27
18. La Du Buq Duphly, Jacques 3:56
19. Les Colombes, Rondeau Duphly, Jacques 3:51
20. La De Vaucanson Duphly, Jacques 2:34
21. La Pothouin, Rondeau Duphly, Jacques 5:48
Gustav Leonhardt (harpsichord)

CD10: 355MB
Bach J.S. - Concertos
1. Allegro 4:56
2. Adagio 5:38
3. Allegro 3:41
4. Allegro 9:25
5. Adagio ma non tanto e dolce 5:45
6. Alla breve 7:43
7. Allegro 8:21
8. Adagio 5:49
9. Allegro 8:54
Various - Gustav Leonhardt (harpsichord)

CD11: 301MB
Bach J.S. - Cantatas
1. 1. (Chor mit Recitativen) "Wer wie?, wie nahe mein Ende" - Voice 4:59
2. 2. Recitativo "Mein Leben hat kein ander Ziel" (Tenore) - Voice 0:53
3. 3. Aria "Wilkommen! will ich sagen" (Alto) - Voice 5:52
4. 4. Recitativo "Ach, wer doch schon im Himmel w?r" (Soprano) - Voice 0:51
5. 5. Aria "Gute Nacht, du Weltget?mmel" (Ba?) - Voice 3:32
6. 6. Choral "Welt ade! ich bin dein m?de" - Voice 1:09
7. 1. (Chor) "O ewiges Feuer, o Ursprung der Liebe" - Voice 8:22
8. 2. Recitativo "Herr! unsre Herzen halten dir" (Tenore) - Voice 0:43
9. 3. Aria "Wolh euch, ihr auserw?hlten Seelen" (Alto) - Voice 5:49
10. 4. Recitativo "Erw?hlt sich Gott die heilgen H?tten" (Ba?) - Voice 0:35
11. 5. Coro "Friede ?ber Israel" - Voice 2:22
12. 1. (Chor) "Jesu, nun sei gepreiset" - Voice 8:54
13. 2. Aria "La? uns, o h?chster Gott das Jahr vollbringen" (Soprano) - Voice 7:17
14. 3. Recitativo "Ach! Deine hand, dein Segen mu? allein" (Alto) - Voice 1:02
15. 4. Aria "Woferne du den edlen Frieden" (Tenore) - Voice 8:49
16. 5. Recitativo "Doch weil der Feind bei Tag und Nacht" (Ba?) - Voice 0:56
17. 6. Choral "Dein ist allein die Ehre" - Voice 2:15
Gustav Leonhardt (harpsichord), Baroque Orchestra, Knabenchor

CD12: 297MB
Bach, Johann Sebastian and C.P.E. - Harpsichord Concertos
1. I. Allegro - Instrumental JOHANN SEBASTIAN BACH (1685-1750) 8:01
2. II. Adagio - Instrumental JOHANN SEBASTIAN BACH (1685-1750) 6:15
3. III. Allegro - Instrumental JOHANN SEBASTIAN BACH (1685-1750) 8:37
4. I. Allegro - Instrumental CARL PHILIPP EMANUEL BACH (1714-1788) 8:06
5. II. Poco andante - Instrumental CARL PHILIPP EMANUEL BACH (1714-1788) 8:43
6. III. Allegro assai - Instrumental CARL PHILIPP EMANUEL BACH (1714-1788) 7:11
Leonhardt-Consort - Gustav Leonhardt

CD13: 305MB
Arcangelo Corelli - Sonata Op. 5, Nos. 7-11 & La Folia Op. 5, No. 12
1. Preludio - Vivace 2:13
2. Corrente - Allegro 2:54
3. Sarabanda - Largo 1:47
4. Giga - Allegro 2:31
5. Preludio - Largo 2:44
6. Allemanda - Allegro 2:11
7. Sarabanda - Largo 1:54
8. Giga - Allegro 2:09
9. Preludio - Largo 3:25
10. Giga - Allegro 2:14
11. Adagio 0:29
12. Tempo di Gavotta - Allegro 2:39
13. Preludio - Adagio 1:51
14. Allemanda - Allegro 1:50
15. Sarabanda - Largo 2:07
16. Gavotta - Allegro 0:40
17. Giga - Allegro 2:29
18. Preludio - Adagio 1:44
19. Allegro 2:40
20. Adagio - Vivace 2:19
21. Gavotta - Allegro 0:41
22. "La Follia" in G minor, Op. 5, No. 12 9:29
Frans Bruggen, Anner Bylsma, Gustav Leonhardt

CD14: 313MB
Music in Versailles
1. La Sonnerie de Sainte Genevieve du Mont a Paris. Marais, Marin 8:10
2. Prelude in D minor for harpsichord. D’Anglebert, Jean Henri 5:28
3. Tombeau de Mr. de Sainte-Colombe. Marais, Marin 7:38
4. La Rameau (Majestueusement) Forqueray, Antoine 4:21
5. La Guignon (Vivement et detache) Forqueray, Antoine 3:17
6. La L?on. Sarabande (Tendrement) Forqueray, Antoine 3:26
7. La Boisson (Vivement, les pinces bien soutenus) Forqueray, Antoine 3:05
8. La Montigni (Galamment sans lenteur) Forqueray, Antoine 2:57
9. La Sylva (Tres tendrement) Forqueray, Antoine 4:02
10. Jupiter (Moderement) Forqueray, Antoine 3:52
Gustav Leonhardt, Sigiswald and Wieland Kuijken

CD15: 386MB
Telemann - Paris Quartets Nos. 1-6
1. I. Grave - Allegro - Instrumental 2:40
2. II. Largo - Instrumental 0:35
3. III. Presto - Instrumental 2:18
4. IV. Largo - Instrumental 0:35
5. V. Allegro - Instrumental 3:43
6. I. Allegro - Instrumental 3:26
7. II. Affettuoso - Instrumental 3:49
8. III. Vivace - Instrumental 3:52
9. I. Soave - Instrumental 3:26
10. II. Allegro - Instrumental 2:18
11. III. Andante - Instrumental 3:54
12. IV. Vivace - Instrumental 2:21
13. I. Andante - Instrumental 3:15
14. II. Allegro - Instrumental 2:38
15. III. Largo - Instrumental 3:26
16. IV. Allegro - Instrumental 2:36
17. I. Prelude: Vitement - Instrumental 1:27
18. II. Rigaudon - Instrumental 2:27
19. III. Air - Instrumental 3:38
20. IV. Replique - Instrumental 2:29
21. V. Menuet I - Menuet II - Instrumental 5:55
22. VII. Gigue - Instrumental 2:37
23. I. Prelude: Gaiement 1:17
24. II. Air: Moderement 2:37
25. III. Rejouissance 1:59
26. IV. Courante 2:11
27. V. Passepied 2:21
Gustav Leonardt, Barthold, Sigiswald and Wieland Kuijken

CD 01-05 download links
CD 06-10 download links
CD 11-15 + scans download links

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Wednesday, April 22, 2009

Speculum - Ars Mediterranea

Composer:
ANON. SEFARDI, LLIBRE VERMELL, THIBAUT IV, LANDINI, GUAMI, CICONIA,
P. da FIRENZE, ANON. Ms. HUELGAS, ANON. Ms. DU ROI
Performer:
David Sagastume, contratenor - José Hernández, contratenor
Lambert Climent, tenor - Juan Sancho, tenor
Rami Alqhai, vihuela de arco - Alfredo Barrales, vihuela de arco
Juan Carlos de Mulder, vihuela y laúd - David Mayoral, santur y percusión
Serguei Sapricheff, percusión - Ernesto Schmied, flautas

TRACKS

01. A la una yo naci (Anon. Sefardi S.XV)
02. La serena (Anon. Sefardi S.XV)
03. Porque llorax blanca niña (Anon. Sefardi S.XV)
04. Laudemus Virginem (Anon. Llibre Vermell S.XIV)
05. Mariam Matrem (Anon. Llibre Vermell S. XIV)
06. Inperayitz (Anon. Llibre Vermell S.XIV)
07. Questa fanciulla (F. Landini, ca. 1325-1397)
08. Adiu, adiu dous dame (F. Landini, ca. 1325-1397)
09. Estampie Royal VII (Anon. Ms. du Roi S.XIV)
10 . Belial vocatur (Anon. Ms. Huelgas S.XIII-XIV)
11. Ricercar 3 (F. Guami 1543-1602)
12. Chosi pensoso (F. Landini, ca. 1325-1397)
13. Amours me fait commencier (Thibaut IV, 1201-1253)
14. Quod jactatur (J. Ciconia, ca. 1370-1412)
15. Estampie Royal I (Anon. Ms. du Roi S.XIV)
16. Ecco la primavera (F. Landini, ca. 1325-1397)
17. Estampie Royal V (Anon. Ms. du Roi S.XIV)
18. Benedicamus Domino (P. da Firenze, ca. 1355-1436)

DOWNLOAD Links

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Brahms: The Cello Sonatas - Rostropovich, Serkin

Brahms: The Cello Sonatas - Rostropovich, Serkin
Classical | Easy CD-DA Extractor, APE, CUE, No LOG | 1 CD, Covers LQ | 219 Mb
CD Date: October 25, 1990 | LABEL: Deutsche Grammophon

“

"The partnership of the wild, inspirational Russian cellist and the veteran Brahmsian, Serkin, on DG is a challenging one. It proves an outstanding success, with inspiration mutually enhanced, whether in the lyricism of Op. 38 or the heroic energy of Op. 99."

”

Composer: Johannes Brahms
Performer: Mstislav Rostropovich, Rudolf Serkin

Tracks
01 - Sonata Op 38 : I Allegro non troppo
02 - Sonata Op 38 : II Allegretto quasi Menuetto
03 - Sonata Op 38 : III Allegro
04 - Sonata Op 99 : I Allegro vivace
05 - Sonata Op 99 : II Adagio affettuoso
06 - Sonata Op 99 : II Allecro passionato
07 - Sonata Op 99 : IV Allegro molto

Links in RapidShare

Brahms: The Cello Sonatas

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Stravinsky - Le sacre du printemps

“

Wow, this is some disc! There are so few new major-label productions featuring today's "big" artists--and let's face it, so many of those turn out to be uninteresting--that it comes almost as a shock to note that there really can be a difference when everyone involved lives up to their reputations. Without a doubt, Esa-Pekka Salonen is a great conductor, particularly in contemporary music such as this. He recorded The Rite of Spring previously with the Philharmonia for Sony, and that was a very exciting performance, but this one has just that much more bite and savagery in the Sacrificial Dance, or at the conclusion of Part One. Indeed, the playing of the Los Angeles Philharmonic is pretty amazing throughout, with well-nigh unbelievable clarity in the polyrhythmic complexities of the Entry of the Sage, but also in the gentler washes of color that open Part Two.

”

Composer: Igor Stravinsky, Modest Mussorgsky, Béla Bartók
Conductor: Esa-Pekka Salonen
Orchestra/Ensemble: Los Angeles Philharmonic Orchestra

Track Listings:

01 - Night On Bald Mountain
02 - The Miraculous Mandarin
03 - Introduction
04 - Les augures printaniers
05 - Jeu du rapt
06 - Rondes printanières
07 - Jeux des cités rivales
08 - Cortège du sage
09 - Le sage
10 - Danse de la terre
11 - Introduction
12 - Cercles mystérieux des adolescentes
13 - Glorification de l'élue
14 - Evocation des ancètres
15 - Action rituelle des ancètres
16 - Danse sacrale (l'élue)

Download

Stravinsky - Le sacre du printemps

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Monday, April 20, 2009

Philip Glass - The Photographer

Philip Glass - The Photographer
Classical, Soundtracks | Easy CD-DA, FLAC tracks, No CUE, No Log | 1 CD, Covers, LQ | 232 MB
CD Date: October 25, 1990 | SONY

“

Music-drama based on the scandal-filled life of the photographer Edweard Muybridge, whose motion studies of people and animals made him famous, and whose murder of his wife's alleged lover made him notorious. The Phographer utilizes drama, dance and slides of Muybridge's photographs. Act I is a 20 minute play with incidental music recounting the circumstances under which Muybridge became a murderer and his subsequent trial and aquittal. Act II is a violin solo with orchestra, accompanied by a slide show of Muybridge's photographs. Act III is a dance involving all characters.

”

Performer: Jack Kripl, Michael Riesman, Bob Carlisle, Robert Carlisle, Ronald Sell, et al.
Conductor: Michael Riesman
Composer: Philip Glass

TRACKS:

1. The Photographer/"A Gentleman's Honor" (Vocal)
2. The Photographer/Act II
3. The Photographer/"A Gentleman's Honor" (Instrumental)
4. The Photographer/Act III

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Philip Glass - The Photographer

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Virgilio Mazzocchi - Vespro della Beata Vergine

Rome in the XVII century: this reconstruction of the Marian Vespers - five psalms, a Magnificat and their brief antiphons - is drawn from the works of the maestro di cappella of St Peter's, Virgilio Mazzocchi, and his close colleagues Carissimi and Frescobaldi. Anything but austere, this music is a worthy successor to that of the great Palestrina.

-o-

Virgilio Mazzocchi (by 1597 - 1646)
Psalmi vespertini: Dixit Dominus
Sacrae flores, Op. 1: Beata Mater
Psalmi vespertini: Laudate pueri

Giacomo Carissimi (1605 - 1674)
Exurge cor meum in cithara

Virgilio Mazzocchi
Psalmi vespertini: Laetatus sum
Surge amica mea
Psalmi vespertini: Nisi Dominus

Giacomo Carissimi (1605 - 1674)
O dulcissimum Mariae nomen

Virgilio Mazzocchi
Psalmi vespertini: Lauda Jerusalem

Giacomo Carissimi (1605 - 1674)
Salve Regina

Girolamo Frescobaldi (1583 - 1643) [attr.]
Canzoni (40) da sonare, libro primo: Canzoni a due cori

Giovanni Pierluigi da Palestrina (1525 - 1594)
Ave maris stella

Virgilio Mazzocchi
Psalmi vespertini: Magnificat

-o-

Concerto Palatino
Cantus Cölln
dir. Konrad Junghänel

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Goffredo Petrassi - I Concerti Per Orchestra - Zoltan Pesko (Warner Fonit)

Goffredo Petrassi - I Concerti Per Orchestra - Zoltan Pesko (Warner Fonit)
EAC 099pb4 Rip | APE+CUE, LOGs | 61:49 min | 67:16 min | 43:28 min | 646 MB 300 dpi PDF Complete Scans
Genre: Classical - 20th Century - Contemporary| Label: Warner Fonit Cetra

Hello buddies!

Time ago, a friend uploaded here, the most recent recording of Petrassi's complete Concertos for Orchestra by the spanish conductor Arturo Tamayo (one of the best on contemporary music at the moment), so in order to compare it with the other available recording or, if maybe you are a 'Petrassian' like me :) ,you need to listen to those performances. On the score, Tamayo's recording is much modern in concept, direct and a bit nervous and has a complete digital sound, while in the other hand, Peskó gives to those works a little misterious an dramatic sound. Enjoy!

-----------------------------------------------

Review:

“

Goffredo Petrassi is probably better known in Britain as a teacher than as a composer, and this record offers evidence of a sensitive ear rather than of an arresting personality. It is music whose textures are often attractive, but whose structures fail to convince.

Petrassi has always avoided the word 'symphony', and his series of concertos for orchestra do not have the full pretensions to argument and abstraction that symphonies in their purest form possess. Yet neither are they no-holdsbarred display pieces which tax the modern orchestra to its limits. No less than 38 years separates No. 1 from No. 8, and the distance in style is the distance between 'neo-classicism" and 'post-Webernism'. Petrassi was about 30 when he completed No. 1 in 1934, and its bustling earnestness, alleviated by some rather pallid lyricism and a few touches of genuine gaiety, is closer to Hindemith than Stravinsky. The piece has not worn well, confirming that neo-classicism is at its worst when it aspires to the portentousness of what can only be described as sub-romanticism. The two fast movements do have some sense of direction, but purposeful movement doesn't itself generate excitement unless the ideas actually convince. This performance makes the most of the work: it sounds very direct and positive, if occasionally a little harshly recorded.

A.R. - Gramophone

”

Goffredo Petrassi

Primo Concerto per Orchestra*

Secondo Concerto per Orchestra*

Récréation Concertante (Terzo concerto per Orchestra)**

Quarto Concerto per Orchestra d'archi**

Quinto Concerto per Orchestra+

Invenzione Concertata (Sesto Concerto per archi, ottoni e percussione)+

Settimo Concerto per Orchestra*

Ottavo Concerto per Orchestra*

*BBC Symphony Orchestra

**Philharmonia Hungarica

+Orchestra Sinfonica di Milano della Rai

Zoltán Peskó

3CD - Warner Fonit - 8573 83274-2

Recorded: I - 1977 BBC Maida Vale Studio, London (Primo and Ottavo),

I - 1978 St. Pancras Town Hall, London (Secondo and Ottavo),

XII - 1972 Marl, Hungary (Terzo and Quarto), XI -XII - 1979, Cons Giusepee Verdi, Milano (Quinto and Sesto)

APE+CUE+SCANS (*.pdf)

Links:

http://rapidshare.com/files/223283467/PTRSS.part1.rar.html
http://rapidshare.com/files/223300313/PTRSS.part2.rar.html
http://rapidshare.com/files/223366843/PTRSS.part3.rar.html
http://rapidshare.com/files/223382509/PTRSS.part4.rar.html
http://rapidshare.com/files/223395575/PTRSS.part5.rar.html
http://rapidshare.com/files/223331953/PTRSS.part6.rar.html
http://rapidshare.com/files/223270908/PTRSS.part7.rar.html

PASSWORD: Sorbus aucuparia

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Thursday, April 16, 2009

Michael Riesman - Philip Glass Soundtracks

Michael Riesman - Philip Glass Soundtracks
Classical | Easy CD-DA, FLAC tracks, No CUE, No Log | 1 CD, Covers, LQ, Notes | 185 MB
CD Date: September 2, 2008 | Orange Mountain Music

“

Michael Riesman is the conductor and producer of nearly every Philip Glass soundtrack recording, including the Academy-Award nominated scores to KUNDUN, THE HOURS and NOTES ON A SCANDAL. PHILIP GLASS SOUNDTRACKS presents his own transcriptions for solo piano of some of the best Philip Glass film scores.

”

Performer: Michael Riesman
Conductor: Michael Riesman
Composer: Philip Glass

TRACKS:

01. Anima Mundi 8:42
02. Jenipapo: No.14 2:18
03. Overture to La Belle et La Bete 3:56
04. Neverwas Set 6:25
05. Notes on a Scandal: I Knew Her 3:03
06. A Brief History of Time Selections 6:03
07. Mishima: Closing 2:50
08. Naqoyatsi: Primacy of Number 6:00
09. The Illusionist: Finale 3:44
10. The Fog of War 3:23
11. No Reservations Combine 3:02
12. Candyman: Helen's Theme and More 3:11

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Michael Riesman - Philip Glass Soundtracks

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Horowitz in Hamburg: The Last Concert

Horowitz in Hamburg: The Last Concert
Classical | Label: DG, July 8, 2008 | EAC | FLAC / 320 kbps MP3, CUE, No LOG, Covers, Booklets | 279 MB | RS

“

First-ever release in any format of this momentous musical event! In 1987, Vladimir Horowitz, the last of the keyboard titans of the 20th century, made a triumphant European tour, giving what turned out to be his final series of performances before an adoring public. The very last of these concerts, on June 21 in Hamburg, was recorded by the North German Radio. Apart from a single encore, no part of this valedictory concert has ever been issued before. This recording constitutes a unique souvenir of Horowitz's final public appearance, where the sense of occasion and immediacy is palpable. Horowitz included three signature works on his final program: Schumann's enchanting Scenes from Childhood (source of one of his favorite encores, the immortal Träumerei), Chopin's monumental "Heroic" Polonaise, and one of his most glittering encores, Moszkowski's Étincelles. Over a career lasting nearly seven decades, Horowitz's recordings have sold over three million units and won 25 Grammy® Awards (six for his Deutsche Grammophon titles)

”

Tracklist:

1. Rondo in D major, K.485 - Allegro
2. Piano Sonata No.13 in B flat, K.333 - 1. Allegro
3. Piano Sonata No.13 in B flat, K.333 - 2. Andante cantabile
4. Piano Sonata No.13 in B flat, K.333 - 3. Allegretto grazioso
5. Soirées de Vienne: 9 Valses-Caprices after Schubert - No.6 in A minor
6. Kinderszenen, Op.15 - 1. Von fremden Ländern und Menschen
7. Kinderszenen, Op.15 - 2. Kuriose Geschichte
8. Kinderszenen, Op.15 - 3. Hasche-Mann
9. Kinderszenen, Op.15 - 4. Bittendes Kind
10. Kinderszenen, Op.15 - 5. Glückes genug
11. Kinderszenen, Op.15 - 6. Wichtige Begebenheit
12. Kinderszenen, Op.15 - 7. Träumerei
13. Kinderszenen, Op.15 - 8. Am Kamin
14. Kinderszenen, Op.15 - 9. Ritter vom Steckenpferd
15. Kinderszenen, Op.15 - 10. Fast zu ernst
16. Kinderszenen, Op.15 - 11. Fürchtenmachen
17. Kinderszenen, Op.15 - 12. Kind im Einschlummern
18. Kinderszenen, Op.15 - 13. Der Dichter spricht
19. Mazurka No.25 in B minor Op.33 No.4 - Mesto
20. Polonaise No.6 in A flat, Op.53 -"Heroic" - Maestoso
21. 6 Moments musicaux, Op.94 D.780 - No.3 in F minor (Allegro moderato)
22. Étincelles, Morceau caractéristique op.36, no.6 - Allegro scherzando

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FLAC:
Part 1
Part 2
Part 3

MP3:
Part 1
Part 2

Covers, Booklets

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Wednesday, April 15, 2009

The Best of British Light Music CD2

“

Gramophone said: “. . . performances are sparklingly vivacious . . . and the recording is first-class”

”

Tracks:

1-3. Sir Malcolm Arnold - Little Suite No.4, Op.80a (orch. Lane)
4. William Blezard - The River
5-10. Adrian Cruft - Traditional Hornpipe Suite
11. Eric Fenby - Rossini Ilkla Moor - Overture
12-15. Raymond Warren - Wexford Bells - Suite on Old Irish Tunes
16. Arthur Butterworth - The Path Across the Moors
17-19. Anthony Hedges - An Ayrshire Serenade, Op.42
20. Paul Lewis - An English Overture
21-26. Philip Lane - Suite of Cotswold Folk Dances

Gavin Sutherland - Royal Ballet Sinfonia
Barry Wordsworth - BBC Concert Orchestra

Released:
2003 Sanctuary Records Group. Resonance CDRSB502

Total Time
74:09

download:

part1 | part2 | part3 | part4

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The Essential Philip Glass

The Essential Philip Glass
Classical | Easy CD-DA, FLAC tracks, No CUE, No Log | 1 CD, Covers, LQ | 351 MB
CD Date: 7 Oct 1993 | Sony Masterworks SK 64133

“

This album is a mixed selection of Glasses works. I loved everything after the second track. The first two tracks sound to me like it was wrote for some 1970's experimental modern dance production and for me I really want to skip past them to get to the far more timeless compositions which compose the remaining tracks. I really dont think I could recommend this album as an introduction to Glass and minimalist compositions.

”

Performer: Janice Pendarvis, Bernard Fowler, Paul Dunkel, Michael Riesman
Orchestra: Glass Ensemble, New York City Opera Orchestra
Composer: Philip Glass

TRACKS:

01. Lightning (from Songs From Liquid Days) 6:42
02. Changing Opinion (from Songs From Liquid Days) 10:38
03. Façades (from Glassworks) 7:21
04. A Gentleman's Honor (from The Photographer) 3:17
05. The Kuru Field of Justice (Extract) (from Satyagraha) 6:09
06. Protest (from Satyagraha) 4:19
07. Evening Song (from Satyagraha) 4:07
08. Hymn to the Sun (from Akhnaten) 6:16
09. Window of Appearances (from Akhnaten) 4:22
10. Bed (from Einstein On The Beach) 3:40
11. Dance VIII (from Dancepieces) 4:58
12. Metamorphosis Four (from Solo Piano) 7:00
13. Closing (from Glassworks) 5:59

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The Essential Philip Glass

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Friday, April 10, 2009

Keeping Score: Beethoven's Eroica

Beethoven called his Third Symphony Eroica (“Heroic”). The Eroica is two hundred years old yet still seems modern.
In this symphony Beethoven began to use broad strokes of sound to tell us how he felt, and what being alive meant to him. The piece caused a sensation and changed the idea of what a symphony could be.
When Beethoven called this piece “heroic,” he wasn’t kidding. It’s bigger, longer than a symphony had ever been. It’s confessional, even confrontational.
Just the scale of it was huge, unprecedented—and daunting for its first listeners. It foreshadowed the world that Wagner and, ultimately, Sigmund Freud would explore—the realm of the unconscious. That’s what was so revolutionary.

The First Movement
When Beethoven first presented himself to Viennese society, he had to make a name for himself. He did this by playing some of his own compositions and, most importantly, by improvising on themes of his own or of his rivals.
Nothing like it had been heard before. These improvisations—often lasting an hour—were entire landscapes of emotional extremes. They were tragic, stormy, lyrical, wildly exhilarating.
Such exhibitions of power first drew people to Beethoven’s art. And the improvisations that dazzled Vienna were, in a way, rehearsals of the daring musical ideas Beethoven would explore in his symphonies.
The first movement of the Eroica was unprecedented in scale, in part because he had so much to say. Beethoven uses a huge spectrum of keys to express different worlds of emotion.
Each new experience of the themes gets darker and deeper. He develops the movement as a way of expressing what really happens in life—the wrong turns, the confusion, the sense of helplessness and entrapment.
In the first movement of the Eroica, Beethoven takes his listeners on a wild journey through the emotional extremes that can be wrought from a few simple themes.

The Second Movement
Perhaps the best reflection of these emotional extremes is the Second Movement, which he titled “Funeral March,” a powerful musical evocation of the massive state funerals then taking place in Paris.
The music suggests the thunder of drums and the roar of the crowd. In this movement, Beethoven explores grief, its public face and its intimate expression.
The oboe solo at the beginning is a personalized and interior expression of grief within a public ceremony. It’s a modern solo in that it has tremendous psychological dimension.
The music is evocative—we can almost see the funeral procession pass before us and ask, What really has died here? Perhaps it is part of Beethoven that is being mourned.
In the years before he wrote Eroica, Beethoven realized he was going deaf, and his initial reaction was terror and shame. He tried to keep it a secret. He couldn’t bear for anyone to know that he—a musician—was not able to hear.
But he came to realize that, as a musician, he could function perfectly well. What really scared him was being cut off from other people, losing the possibility of hearing intimate conversation.
What kind of strange, isolated, lonely, crazy individual was he in danger of becoming? That was the real terror.
As Beethoven’s personal crisis deepened in 1802, he took refuge in the village of Heiligenstadt. He hoped that the quiet of the countryside would bring relief to the distortions in his hearing. And he needed time to get himself together—to face the decision, literally, of whether to live or to die.
In Heiligenstadt, he wrote the most important document we have that reflects the turmoil in his life. The so-called Heiligenstadt Testament is a kind of last will, or possibly a suicide note.
It wasn’t meant to be read during his lifetime. But it reveals Beethoven’s state of mind just before he wrote Eroica. Somehow he found the strength to go on. In the works that follow the Heiligenstadt Testament, he inserted his humanity into the very fabric of the music.

The Third Movement
A year later, in 1803, Beethoven returned to Heiligenstadt, where his depression gave way to an astonishing burst of creativity. Nourished by the pleasures of country life, Beethoven’s musical juices began to flow.
In the third movement it seems that Beethoven is tired of thinking about the past and heroes and revolutions. Now he only wants to think about the future, specifically his own future and the future of music.
The third movement shows how confident Beethoven was becoming in the power of his imagination. Here he was creating whole musical worlds. By sharing these worlds with us, he could communicate more personally than had ever been possible before.

The Fourth Movement
The finale of the Eroica starts out with the suggestion of fun and games. There are fugues, village dances, virtuoso solos. But you can’t miss the tenderness in this music.
You can’t miss its suggestion of that moment in life when we look at something or someone we’ve always taken for granted with new eyes and realized just how special they are.
Letting us understand this, Beethoven leads us even further. He makes us realize that these simple notes are worthy to express the triumphant climax of the life of a hero. This is the sum total of one person’s life.
Beethoven and Napoleon
By late 1803, Beethoven had sketched out his new epic symphony, the Eroica. It was inspired by the ideals of the French Revolution and dedicated to its hero, who then seemed to be the great liberator of the people: Napoleon.
Beethoven thought of himself as a free spirit, and he admired the principles of freedom and equality embodied by the French Revolution. He thought he recognized in Napoleon a hero of the people and a champion of freedom, which was why he intended to dedicate a huge new symphony to him.
But when Beethoven heard the news in late 1804 that Napoleon had crowned himself Emperor of France, he was disgusted. “He’s just a rascal like all the others,” he exclaimed.
Beethoven violently erased Napoleon’s name from his manuscript—so forcefully, in fact, that he erased his way right through the paper, leaving holes in the title page.
So this revolutionary piece of music that was originally to be The Bonaparte Symphony became simply Eroica—the heroic.
But if the hero of the music was no longer Napoleon, who was it? The Eroica explores what it means to be human. In facing his own demons and choosing to continue making music, to continue living, Beethoven embraced the heroic in everyman and, ultimately, in himself.
Beethoven said that this symphony was his favorite. In it, he envisioned where his music was going and in fact where the music of the future was going.
All the works that followed it—by Schumann, Brahms, Tchaikovsky, Mahler—would have been impossible without the pathfinding steps that Beethoven took in this symphony.

Michael Tilson Thomas
San Francisco Symphony

Media: 1 DVD 9
Scans: Cover only
Runtime: 55 Minutes (Documentary) + 55 Minutes (Concert)
Size: 7.24 GB (3% Recovery)
Part Size: 200 MB
Video: Untouched (no compression)
Type: Interlaced MPEG2
Aspect ratio: 16:9
Region Code: All Regions
TV System: NTSC
Audio: Dolby Digital 5.1, LPCM Stereo
Menus: Untouched (Menus are in English)
Subtitles: English, Deutsch, Francais, Espanol, Chinese Traditional & Simplified
Format: VIDEO_TS Folder
Studio: San Francisco Symphony
DVD Release Date: 2006
Note: 3% Recovery is included in archives to repair corrupted downloads

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Monday, May 4, 2009

Mahler - complete symphonies - Bernard Haitink

JOSQUIN des PRES (c.1440-1521) Masses" Malheur me bat- Fortuna desperata" - The Tallis Scholars - Peter Phillips

Itzhak Perlman The American Album

Thursday, April 30, 2009

VA - Classical Album (2005)

Tuesday, April 28, 2009

Fritz Kreisler - Hall of Fame (2002)

Joseph Haydn - Symphonies 82, 88 & 95 (Fey Haydn Project Volume 3)

Grechaninov: Symphony 5 / Missa oecumenica

Schubert - Symphonies 8 and 9 - Munch - Boston Symphony

Friday, April 24, 2009

Gustav Leonhardt: Jubilee Edition. 15CD Sony - 2008

Wednesday, April 22, 2009

Speculum - Ars Mediterranea

Brahms: The Cello Sonatas - Rostropovich, Serkin

Stravinsky - Le sacre du printemps

Monday, April 20, 2009

Philip Glass - The Photographer

Virgilio Mazzocchi - Vespro della Beata Vergine

Goffredo Petrassi - I Concerti Per Orchestra - Zoltan Pesko (Warner Fonit)

Thursday, April 16, 2009

Michael Riesman - Philip Glass Soundtracks

Horowitz in Hamburg: The Last Concert

Wednesday, April 15, 2009

The Best of British Light Music CD2

The Essential Philip Glass

Friday, April 10, 2009

Keeping Score: Beethoven's Eroica

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