requiem de verdi

ELLIS

Monteverdi

Monteverdi:

Claudio Monteverdi (1567-1643)
Altri canti
Il ballo delle ingrate
Selva morale
Il combattimento di Tancredi e Clorinda
Les Arts Florissants - William Christie

For those who know me (and my posts) you will know this is not my bag. I am posting on behalf of my friend Ockegehem2 (Johannes Ockeghem) Please direct comments and thanks to him.

[EAC rip, cue, log, scans]

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Claudio Monteverdi (1567-1643)
Altri canti - Excerpts from the 7th and 8th book of madrigals

Altri canti di Marte

Perchè t'en fuggi o Fillide

Chiome d'oro

Hor ch'el ciel e la terra

Non havea Febo ancora (Lamento della Ninfa)

Gira il nemico insidioso

Amor che deggio far

Tirsi e Clori

Les Arts Florissants - William Christie

Recording: 1980

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Claudio Monteverdi (1567-1643)

Il ballo delle ingrate

La Sestina

Les Arts Florissants - William Christie

Recording: 1982

  

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Claudio Monteverdi (1567-1643)

Selva morale

Gloria a 7 voci

Chi vol che m'innamori

O ciechi ciechi

Adoramus a 6 voci

Confitebor terzo alla francese

Confitebor tibi Domine

Laudate Dominum

E' questa vita un lampo

Beatus vir (primo)

Les Arts Florissants - William Christie

Recording: 1986

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 Claudio Monteverdi (1567-1643)

Il combattimento di Tancredi e Clorinda

Mentre vaga angioletta

Con che soavità

Eri già tutta mia

Quel sguardo sdegnosetto

Tu dormi? Ah crudo core

Presso un fiume tranquillo

Zefiro torna, e di soavi accenti

O come sei gentile

Ardo, avvampo

Les Arts Florissants - William Christie

Recording: 1992

Khatchaturian: Piano Concerto, Etc

Khatchaturian: Piano Concerto, Etc:

Dramatic in impact was the Concerto for Piano and Orchestra, 1935-36, of Khachaturian, which won fulsome praise. The work uses every instrument of a large orchestra, making it a spectacular concert hall piece. Its popularity in the Soviet Union was immediate and permanent, and when it was introduced to American audiences in 1942, it quickly became a staple part of the performing repertoire of a number of pianists, rapidly making the transitions to records.

Pierné: Piaco Concerto, Etc

Pierné: Piaco Concerto, Etc:

“[Bavouzet] plays with an enthralling virtuosity...he makes it difficult to imagine a more bright-eyed and eloquent soloist, and his partners work with him hand-in-glove. For all those who delight in a wholly French grace and magic, this disc is a winner, and it is superbly recorded.” -- Gramophone

“This attractive disc would make an ideal introduction to the charms of Pierné's music...The revelatory heart, though, is the music from Ramuntcho...Inspired by the Basque setting, there is plenty of colour and vigour.” -- BBC Music Magazine ****

This one's a keeper. Gabriel Pierné was the French Mahler, not stylistically perhaps, but in terms of his skill set. A superb conductor, he applied his podium experience to his compositions, writing immaculately finished, brilliantly scored pieces in a wide range of styles. Aesthetically he couldn't be further from his Czech/German/Jewish colleague, but the comparison is apt nonetheless. Like Mahler's, Pierné's idiom is hard to categorize in its inclusivity.

The Piano Concerto is a diverting romp in the spirit of Saint-Saëns' Second (it has no slow movement at all). The Divertissement is charm incarnate. The Ramuntcho suites incorporate Basque themes and stand in a long and illustrious line of French tributes to Spain. They are wholly wonderful. The March of the Little Lead Soldiers needs no introduction, and is not to be confused with Pierné's other "greatest hit", the March of the Super Cute Little Mythological Faun Critters from the ballet Cydalise et le chèvre-pied.

These performances are stunning. There is a similar coupling of Ramuntcho and the concerto on BIS, and it's very good. But Jean-Efflam Bavouzet is an unbeatable soloist, and the orchestral playing under Mena is irreproachable. Toss in the two couplings (the Divertissement is actually quite substantial), plus terrific sonics, and the result is simply irresistible. You'll love this music. --David Hurwitz, ClassicsToday.com

Vivaldi: New Discoveries II

Vivaldi: New Discoveries II:

“The operatic discoveries on this new CD are two arias which turned up in Belgium from L’inganno trionfante in amore, and a reconstruction of another two, found in reductions in Berlin, all characterfully sung by soprano Ann Hallenberg. There is also an energetically bristling, newly authenticated Violin Concerto in A minor” --Irish Times, 27th July 2012 ****

World premiere recordings of Vivaldi scores recently discovered in Europe.

This is the 45th title in the Vivaldi Edition, 3 years after the first recording dedicated to Vivaldi scores discovered in Europe between 2000 and 2007, now in its 12th year. This second volume features the most recent discoveries in world premiere recordings and will further contribute to complete one of the most fascinating jigsaw puzzles in musical history Federico Maria Sardelli is a member of the musicological committee of the Istituto Italiano Antonio Vivaldi at the Fondazione Cini in Venice, for which he has published numerous scholarly essays. In July 2007 Peter Ryom chose him to continue his monumental work of cataloguing the music of Antonio Vivaldi; since then, Sardelli has been the editor of the Vivaldi Werkverzeichnis (RV).

Since 2008 the harvest has been abundant enough to nourish this second volume of Vivaldian revelations, including a violin concerto, a flute concerto and 4 opera arias from 'L'inganno trionfante in amore', one of the most important lost opera scores of Vivaldi.

Alongside Sardelli and his orchestra Modo Antiquo, the recording features such illustrious names as mezzo-soprano Ann Hallenberg, violinist Anton Steck and flautist Alexis Kossenko.

Erich Wolfgang Korngold: Sinfonietta for Large Orchestra, Op. 5

Erich Wolfgang Korngold: Sinfonietta for Large Orchestra, Op. 5:
 Erich Wolfgang Korngold: Sinfonietta for Large Orchestra, Op. 5Gerd Albrecht, The Berlin Radio Symphony Orchestra

Prominent Viennese music critic Julius Korngold must have known exactly how Leopold Mozart felt. Just as the elder Mozart had watched the astonishing development of his son Wolfgang, Julius saw his own son Erich Wolfgang developing musical talents so rapidly and spontaneously