• Blog Stats

    • 80,831 hits
  • Blog policy

    This blog provides information about artists and musical works. If you like the music and/or the info, please, support the original artists and buy their records. This blog does not store or host any copyrighted material and does not support piracy. This blog does not accept any kind of messages containing any type of insults nor any offensive comments. Blog administrators reserve the right to delete comments that do not comply with those requirements.
  • Categories

  • Top Posts

  • Recent Comments

    victor on Johann Sebastian Bach –…
    Like on Ludwig Van Beethoven – 9…
    anonymousremains on Jacques Ibert – Piano…
    iok on Charles Gounod – Faust…
    tony van Grinsven on Post with not working lin…
  • June 2009
    M T W T F S S
  • Meta

Joseph Haydn – L’Infedeltà Delusa (Eszterhaza Opera Cycle)

Joseph Haydn –   L’Infedeltà Delusa

Recorded at The Grand Salle, Epalinges, Switzerland on June 1980

About this opera:
L’infedeltà delusa (“Deceit Outwitted”), Hob. 28/5, is an operatic burletta per musica by Joseph Haydn. The Italian libretto was by Marco Coltellini, perhaps reworked by Carl Friberth who also took part in the first performance.
The earliest recorded performance, which may have been the premiere, was at Eszterháza on 26 July 1773. This was the name day of the Dowager Princess Estaházy and this date is given in the printed libretto. It was revived for the visit of Empress Maria Theresa on 1 September 1773, and again on 1 July 1774.

Track List:
01. Ouverture (6:20)
02. 1. Akt – (Introduzione) – Bella sera (9:33)
03. 1. Akt – (Recitativo) – Si figliola (1:31)
04. 1. Akt – (Aria) – Quando viene a far l’amore (5:46)
05. 1. Akt – (Recitativo) – Povera me! povero Nanni! (1:17)
06. 1. Akt – (Aria) – Che imbroglio è questo! (3:56)
07. 1. Akt – (Recitativo) – Ora intendo cos’è (0:34)
08. 1. Akt – (Aria) – Non v’è rimedio (3:54)
09. 1. Akt – (Aria) – Come piglia si bene la mira (7:02)
10. 1. Akt – (Recitativo) – Cappita! Or ora è notte! (1:11)
11. 1. Akt – (Duetto) – Son disperato (4:37)
12. 1. Akt – (Aria) – Chi s’impaccia di moglie cittadina (7:16)
13. 1. Akt – (Recitativo) – È qui l’amico (3:51)
14. 1. Akt – (Finale) – O piglia questa (4:23)
01. atto secondo No.15. Recitativo (O fratel mio) (5:16)
02. atto secondo No.16. Aria (Ho un tumore in un ginocchio) (6:24)
03. atto secondo No.17. Recitativo (Che ne dite?) (2:22)
04. atto secondo No.18. Aria (Tu sposarti alla Sandrina?) (5:42)
05. atto secondo No.19. Recitativo (Che faccenda è cotesta?) (1:55)
06. atto secondo No.20. Aria (Trinche vaine allegramente) (1:38)
07. atto secondo No.21. Recitativo (Ora ho scoperto tutto) (3:13)
08. atto secondo No.22. Aria (Oh che gusto!) (4:12)
09. atto secondo No.23. Recitativo (Vieni, sbrigati Nanni!) (0:31)
10. atto secondo No.24. Aria (Ho tesa la rete) (5:22)
11. atto secondo No.25. Recitativo (Tira in qua quella tavola) (1:59)
12. atto secondo No.26. Aria (È la pompa un grand’imbroglio) (5:15)
13. atto secondo No.27. Recitativo (Servo di Vosustrissima) (1:05)
14. atto secondo No.28. Finale (Nel mille settecento) (5:23)

The Players:

Stereo, ADD, mp3, 320 kbps, 281.12 Mb, 1 hours 50 minutes. Covers, info & synopsis included.

Part1 —–  Part2 —–   Part3

Cristóbal De Morales – Mass For The Feast Of St. Isidore Of Seville

Cristóbal De Morales – Mass For The Feast Of St. Isidore Of Seville

Recorded at Brinkburn Priory, weldon on June 1995 and at Douai Abbey, Upper Woolhampton on November 1995.

About this work:
Celestial music and a celestial performance: Paul McCreesh’s ingenious construction of a Mass for the Feast of St. Iisidore of Seville, as it might have been celebrated in Toledo Cathedral around 1590, deserves to be called a resplendent sonic and spiritual feast. Realizing that authenticity in performance is an ideal, McCreesh instead focuses, as Dorothea Schroder explained in the liner notes, “that romanticizing, subjectively influenced beauty of sound against which the champions of authentic performance practice had been crusading for decades.” Indeed, McCreesh has said that what is termed authentic can only be imagined. In this case, his creative imagination is inspired by the sacred music of sixteenth century Spain. In order to create the experience of attending a mass in 1590, McCreesh chose the Missa “Mille regretz” by Cristóbal de Morales, interspersing it with Gregorian chant and instrumental pieces by various contemporary composers. The effect is magnificent. Beautifully performed by the Gabrieli Consort and Players, the music instantly and without warning takes the listener to the passionate, distant, spellbinding world of Spanish Catholic spirituality. Played flawlessly on period instruments, including recorders, cornets, shawms, and sackbuts, the instrumental pieces bring to mind a rich tapestry of warm colors and finely sculpted sonic forms. The choral singing has resplendent, finely wrought contours of religious feeling presented within the opulent harmonic architecture of seemingly inexhaustible forms against the background of a discreet play of melodic lights and shadows. McCreesh is truly magisterial as he molds the fluid choral structure, knowing exactly when to indicate the moments when contemplation yields illumination, moments brought to the listener by an unmistakable, plangent, and soulful presence of the falsetto voices.

Track List & Players:

Stereo, DDD, mp3, 320 kbps, 185.84 Mb, 76:13 minutes, Covers & info included.

Part1 —–   Part2

Joseph Haydn – The Creation

Joseph Haydn –  The Creation

Recorded at the Jesus-Christus-Kirche, Berlin betwen February 1966 and April 1969.

About this work:
The Creation (German: Die Schöpfung) is an oratorio written between 1796 and 1798 by Joseph Haydn (H. 21/2), and considered by many to be his masterpiece. The oratorio depicts and celebrates the creation of the world as described in the biblical Book of Genesis. Haydn was inspired to write a large oratorio during his visits to England in 1791–1792 and 1794–1795, when he heard oratorios of Handel performed by large forces. Israel in Egypt is believed to have been one of these. It is likely that Haydn wanted to try to achieve results of comparable weight, using the musical language of the mature classical style. The work on the oratorio lasted from October 1796 to April 1798. It was also a profound act of faith for this deeply religious man, who appended the words “Praise to God” at the end of every completed composition. He later remarked, “I was never so devout as when I was at work on The Creation; I fell on my knees each day and begged God to give me the strength to finish the work.” Haydn composed much of the work while at his residence in the Mariahilf suburb of Vienna, which is now the Haydnhaus. It was the longest time he had ever spent on a single composition. Explaining this, he wrote, “I spent much time over it because I expect it to last for a long time.” In fact, he worked on the project to the point of exhaustion, and collapsed into a period of illness after conducting its premiere performance. Haydn’s original autograph score has been lost since 1803. A Viennese published score dated 1800 forms the basis of most performances today. The ‘most authentic’ Tonkünstler-Societat score of 1799, with notes in the composer’s hand, can be found at the Vienna State Library. There are various other copyist scores such as the Estate, as well as hybrid editions prepared by scholars during the last two centuries. The text of The Creation has a long history. The three sources are Genesis, the Biblical book of Psalms, and John Milton’s Genesis epic Paradise Lost. In 1795, when Haydn was leaving England, the impresario Johann Peter Salomon (1745–1815) who had arranged his concerts there handed him a new poem entitled The Creation of the World. This original had been offered to Handel, but the old master had not worked on it, as its wordiness meant that it would have been 4 hours in length when set to music. The libretto was probably passed on to Salomon by Thomas Linley Sr. (1733–1795), a Drury Lane oratorio concert director. Linley (sometimes called Lidley or Liddel) himself could have written this original English libretto, but scholarship by Edward Olleson, A. Peter Brown (who prepared a particularly fine “authentic” score) and H. C. Robbins Landon, tells us that the original writer remains anonymous. When Haydn returned to Vienna, he turned this libretto over to Baron van Swieten. The Baron led a multifaceted career as a diplomat, librarian in charge of the imperial library, amateur musician, and generous patron of music and the arts. He is largely responsible for recasting the English libretto of The Creation in a German translation (Die Schöpfung) that Haydn could use to compose. He also made suggestions to Haydn regarding the setting of individual numbers. The work was published bilingually (1800) and is still performed in both languages today. Haydn himself preferred for the English translation to be used when the work was performed for English-speaking audiences. Van Swieten was evidently not a fully fluent speaker of English, and the metrically-matched English version of the libretto has given rise to criticism and various attempts at improvement. Indeed, the English version is sufficiently awkward that the work is sometimes performed in German even in English-speaking countries. One passage describing the freshly-minted Adam’s forehead ended up, “The large and arched front sublime/of wisdom deep declares the seat”. The discussion below quotes the German text as representing van Swieten’s best efforts, with fairly literal renderings of the German into English.
The Creation is set for three vocal soloists (soprano, tenor, and bass), four-part chorus (soprano, alto, tenor, bass), and a large Classical orchestra consisting of 3 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, 3 trombones, timpani, and the usual string sections of first and second violins, violas, cellos, and double basses. For the recitatives a harpsichord or fortepiano is also used. There seems little doubt that Haydn wanted a big sound (by the standard of his day) for his work. Between the private premieres for nobles and the public premiere in 1799, Haydn added extra instrumental parts to the work. The forces for the public premiere numbered about 120 instrumentalists and 60 singers. The three soloists represent angels who narrate and comment on the successive six days of creation: Gabriel (soprano), Uriel (tenor), and Raphael (bass). In Part III, the role of Adam is usually sung by the same soloist as sings Raphael, and the roles of Gabriel and Eve are also taken by the same singer (this was the practice Haydn followed); however, some conductors prefer to cast each of the five roles with a different soloist. The choral singers are employed in a series of monumental choruses, several of them celebrating the end of one particular day of creation. The orchestra often plays alone, notably in the episodes of “tone-painting”: the appearance of the sun, the creation of various beasts, and above all in the overture, the famous depiction of the Chaos before the creation.
The first performances in 1798 were sponsored by a group of noble citizens, who paid the composer handsomely for the right to stage the premiere (Salomon briefly threatened to sue, on grounds that the English libretto had been translated illegally). The performance was delayed until late April—the parts were not finished until Good Friday—but the completed work was rehearsed before a full audience on April 29. The first public performance the next day was a private affair, but hundreds of people crowded into the street around the Schwarzenberg Palace to hear this eagerly anticipated work. Admission was by invitation only. Those invited included wealthy patrons of the arts, high government officials, prominent composers and musicians, and a sprinkling of the nobility of several countries; the common folk, who would have to wait for later occasions to hear the new work, so crowded the streets near the palace that some 30 special police were needed to keep order. Many of those lucky enough to be inside wrote glowing accounts of the piece. In a letter to the Neue teutsche Merkur, one audience member wrote: “Already three days have passed since that happy evening, and it still sounds in my ears and heart, and my breast is constricted by many emotions even thinking of it.” The first public performance at Vienna’s Burgtheater on 19 March 1799 was sold out far in advance, and Die Schöpfung was performed nearly forty more times in the city during Haydn’s lifetime. It had its London premiere the next year, in an English translation, at the Covent Garden Theatre. The last performance Haydn attended was on March 27 1808, just a year before he died: the aged and ill Haydn was carried in with great honour on an armchair. According to one account, the audience broke into spontaneous applause at the coming of “light” and “Papa” Haydn, in a typical gesture weakly pointed upwards and said: “Not from me—everything comes from up there!”. Remarkably, The Creation was also performed more than forty times outside Vienna during his lifetime: elsewhere in Austria and Germany, throughout England, and in Switzerland, Italy, Sweden, Spain, Russia and the United States. A typical performance lasts about one hour and 45 minutes.

Track List:
01. The First Day: Einleitung. Die Vorstellung des Chaos (Largo) (7:05)
02. The First Day: Im Anfange schuf Gott Himmel und Erde… (2:58)
03. The First Day: Nun schwanden vor dem heiligen Strahle (4:01)
04. The Second Day: Und Gott machte das Firmament (1:50)
05. The Second Day: Mit Staunen sieht das Wunderwerk… (2:00)
06. The Third Day: Und Gott sprach: Es sammle sich das Wasser (0:45)
07. The Third Day: Rollend in schäumenden Wellen (4:12)
08. The Third Day: Und Gott sprach: Es bringe die Erde Gras hervor (0:37)
09. The Third Day: Nun beut die Flur das frische Grün (5:34)
10. The Third Day: Und die himmlischen Heerscharen… (0:14)
11. The Third Day: Stimmt an die Saiten (1:58)
12. The Fourth Day: Und Gott sprach: Es sei’n Lichter… (0:41)
13. The Fourth Day: In vollem Glanze steiget jetzt (2:55)
14. The Fourth Day: Die Himmel erzählen die Ehre Gottes (4:09)
15. The Fifth Day: Und Gott sprach: Es bringe das Wasser in der Fülle hervor (0:22)
16. The Fifth Day: Auf starkem Fittiche schwinget… (7:38)
17. The Fifth Day: Und Gott schuf groBe Walfische (2:39)
18. The Fifth Day: Und die Engel rührten ihr’… (0:27)
19. The Fifth Day: In holder Ammut stehen/Der Herr ist groB in seiner Macht (7:39)
01. The Sixth Day: Und Gott sprach: Es bringe die Erde hervor lebende Geschöpfe (0:30)
02. The Sixth Day: Gleich öffnet sich der Erde Schoss (3:01)
03. The Sixth Day: Nun scheint in vollem Glanze der Himmel (3:45)
04. The Sixth Day: und Gott schuf den Menschen (0:48)
05. The Sixth Day: Mit Würd’ und Hoheit angetan (3:58)
06. The Sixth Day: Und Gott sah jedes Ding (0:27)
07. The Sixth Day: “Vollendet ist das grosse Werk” / “Zu Dir, o Herr, blickt alles auf” / “Vollendet ist das groBe Werk” (9:13)
08. Aus Rosenwolken bricht (4:51)
09. Von deiner Güt’, o Herr und Gott (10:00)
10. Nun ist die erste Pflicht erfültt (2:50)
11. Holde Gattin, dir zur Seite (7:04)
12. O glückliches Paar, und glücklich immerfort (0:27)
13. Singt dem Herren alle Stimmen! (4:02)

The Players:

Stereo, ADD, mp3, 320 kbps, 253.76 Mb, 1 hours 48 minutes. Covers & info included.

Part1 —–  Part2 —–   Part3

George Frideric Händel – Ombra Mai Fù

George Frideric Händel – Ombra Mai Fù

Recorded between 1999 and 2002.

About this record:
No more making allowances for countertenors–now the best of the breed have voices as rich and as varied as those of any other range. Exhibit A: Gramophone cover boy Andreas Scholl. Unlike David Daniels and Brian Asawa, who made their splash on the opera stage, Scholl became famous as a concert and oratorio singer. He doesn’t sing with Daniels’s temperament and fire; along with a certain equanimity, he has a round, pleasing sound and a vibrato that’s attractive but never intrusive. For his first operatic recording, Scholl chose his music wisely: rather than tempest arias or bursts of martial fury, he gives us long, beautifully shaped melody in the title aria and the famous “Verdi prati.” He’s at his delightful best in the “birdsong” and “hunting” arias from Giulio Cesare: the clean coloratura, detailed phrasing, and imaginative embellishment are reminiscent of Emma Kirkby in her prime. The instrumental soloists in those arias (violin and horn, respectively) are equally fine, as is the entire period-instrument orchestra. However, nearly half of the playing time on this disc is instrumental music–that seems rather much for a recording marketed as a showcase for a hot young singer. (The much-recorded concerto grosso “Alexander’s Feast” in particular seems superfluous.) With that caveat in mind, this impressive disc won’t disappoint.

Track List:

The Players:

Stereo, DDD, mp3, 320 kbps, 183.97 Mb, 76:21 minutes. Covers & info included.

Part1 —–  Part2

Music in Goya’s Time

Music in Goya’s Time

Recorded at the San Miguel Church, Cuenca, Spain in June 1996.

About these works:
This record was recorded as part of the celebrations to commemorate the 250th anniversary of Francisco de Goya’s birthday. The authors are all from Goya’s time and the represented pieces are excellent examples to get a taste of how the music was in the time of the genial painter.

Track List:
01. Anónimo: El Zorongo del Navío (2:11)
02. Anónimo: El Dulce de América (2:15)
03. J.Castell: El hombre en el matrimonio (3:39)
04. Anónimo: Overtura (5:38)
05. Pablo Esteve: Agraviado Arianate – Rezitado (0:40)
06. Pablo Esteve: Agraviado Arianate – Copla (4:15)
07. Antonio Guerrero: Ruiseñor que volando (1:37)
08. Blas de Laserna: Coplas de Teatro – El meloncillo (3:38)
09. Blas de Laserna: Coplas de Teatro – Contradanza del aire (0:35)
10. Blas de Laserna: Coplas de Teatro – Quando Bastiana (2:22)
11. Blas de Laserna: Coplas de Teatro – Piensa en la Nobia el Nobio (2:44)
12. Blas de Laserna: Coplas de Teatro – Porfía por porfía (1:45)
13. Blas de Laserna: Coplas de Teatro – Contradanza del avestruz (0:32)
14. Blas de Laserna: Coplas de Teatro – Ay, Cupidillo (2:15)
15. Francisco Courcelle: Lamentación 2a del viernes santo de triple solo (7:35)
16. Domenico Scarlatti: Sinfonía para dos violines y baxo (2:34)
17. Nicolás Conforto: Il Barbaro m’affretta – recitativo (2:20)
18. Nicolás Conforto: Il Barbaro m’affretta – aria (5:21)

The Players:
The Real Cámara Orchestra conducted by Emilio Moreno
Marta almajano: soprano
Emilio Moreno & Enrico Gatti: violin
Wouter Möller & José Manuel Hernández: cello
Juan Carlos de Mulder: guitar
Guido Morini: harpsichord & organ
Perdo Estevan: percussion

Stereo, DDD, mp3, 320 kbps, 124.89 Mb, 51:56 minutes. Covers included.
Part1 —–   Part2

Gaetano Donizetti – Roberto Devereux

Gaetano Donizetti – Roberto Devereux

Recorded live at Teatro La Fenice, Venice on 10/02/1972

About this Opera:
Roberto Devereux (or Roberto Devereux, ossia Il conte di Essex [Roberto Devereux, or the Earl of Essex]) is a tragedia lirica, or tragic opera, by Gaetano Donizetti. Salvatore Cammarano wrote the Italian libretto after François Ancelot’s tragedy Elisabeth d’Angleterre. It is loosely based on the life of Robert Devereux, 2nd Earl of Essex, an influential member of Queen Elizabeth’s court. It is one of a number of operas by Donizetti which deal with the Tudor period in English history and include Anna Bolena, Maria Stuarda and Il castello di Kenilworth. It was first performed on October 29, 1837 at the Teatro San Carlo, Naples.
The plot of Roberto Devereux was hardly original and was liberally taken from Il Conte d’Essex by Felice Romani (1833). Romani’s widow charged Cammarano with plagiarism though the practice of stealing plots was very common between rival Italian opera houses. Robert Devereux was the subject of at least three French plays: Le Comte d’Essex by Pierre Corneille, Le Comte d’Essex by La Calprenede, and the source of this opera Elisabeth d’Angleterre by François Ancelot. There are many historical inaccuracies in the libretto but it makes for an excellent drama.
Though the opera is rarely performed today, it contains some of Donizetti’s best vocal writing. The opera is raw and emotional; it is a powerful vehicle for the soprano. Some of the highlights include the Act I duet between Elizabeth and Robert Nascondi, frena i palpiti. The final scene is one of the most dramatic and difficult in bel canto opera. As Elizabeth is going mad with the death of her lover, Quel sangue versato pushes romantic opera to the limits of melodic expression.

Track List:
1. Sinfonia (12:55)
2. Act I – Introduzione e Cavatina Elisabetta (5:53)
3. Act I – Duetto (Elisabetta e Roberto) (4:04)
4. Act I – Dopo il Duetto di Elisabetta ed Essex (10:20)
5. Act I – Cavatina Nottingham (5:17)
6. Act I – Dopo la Cavatina die Nottingham (4:48)
7. Act I – Duetto Sara e Roberto (12:25)
1. Act II – Coro E Finale (24:06)
2. Act III – Recitativo (2:53)
3. Act III – Duetto Sara e Nottingham (8:45)
4. Act III – Scena ed Aria Roberto (6:02)
5. Act III – Ultima scena (19:32)

The Players:

Stereo, ADD, mp3, 320 kbps, 286.36 b, 1 hour 57 minutes. Covers, info & synopsis included.

Part1 —–   Part2 —–   Part3

Harp Recital

Harp Recital

Recorded in 1986.

About these works:

Track List:
01. J.S. Bach: Italian concerto in F major, BWV 971: Moderato (4:08)
02. J.S. Bach – Italian Concerto In F Major, BWV 971 / Andante (4:10)
03. J.S. Bach – Italian Concerto In F Major, BWV 971 / Presto (4:09)
04. G.B. Pescetti: Sonata in C minor: Allegro vigoroso (3:28)
05. G.B. Pescetti: Sonata in C minor: Andantino espressivo (4:17)
06. G.B. Pescetti: Sonata in C minor: Presto (1:20)
07. Antonio Soler: Sonata in D major (3:44)
08. Mateo Albeniz: Sonata in D major (3:02)
09. Albert Roussel, Impromptu, Op. 21 (5:50)
10. Carlos Salzedo: Variations sur un theme dans le style ancien (9:07)
11. Louis Spohr: Fantasie pour harpe, op.35 (7:22)
12. Alfredo Casella: Sonata per arpa, op.68: I (5:55)
13. Alfredo Casella: Sonata per arpa, op.68: II (6:16)
14. Alfredo Casella: Sonata per arpa, op.68: III (3:40)

The Player:
Susanna Mildonian: harp

Stereo, DDD, mp3, 320 kbps, 157.07 Mb, 66:28 minutes. Covers & info included.

Part1 —–   Part2

Christoph Willibald Gluck – Paride Ed Elena

Christoph Willibald Gluck – Paride Ed Elena

Recorded in 1992.

About this Opera:
Paride ed Elena (Paris and Helen) is an opera by Gluck, the third and final of his Italian reformist works, following Orfeo ed Euridice and Alceste. Paride ed Elena encompasses the events between The Judgment of Paris and the flight of Paris and Helen to Troy and, like its predecessors, its libretto was written by Ranieri de’ Calzabigi. It was premiered at the Burgtheater in Vienna on 3 November 1770.

Track List:
01. Ouverture (4:31)
02. ATTO PRIMO – SCENA – Non sdegnare, o bella Venere (6:11)
03. Dall’aurea sua stella (2:36)
04. Spiagge amate, ove talora (2:29)
05. SCENA SECONDA – Stranier, la mia Regnia (4:04)
06. Ma Chi Sei!?! (2:57)
07. SCENA TERZA – Felice te, che possessor sarai (1:06)
08. Nell’idea ch’ei volge in mente (2:46)
09. Ballo (6:58)
10. ATTO SECONDO – SCENA PRIMA – Si presenti, mivegga di Priamo il figlio (7:39)
11. SCENA SECONDA – Regina! Oh Dei! (4:04)
12. Forse piu dúna belta (1:06)
13. SCENA TERZA – Tutto qui mi sorprende (4:17)
14. La belle immagini d’un dolce amore (3:04)
15. ATTO TERZO – Prence, la tua presenza il popolo di Sparta (1:15)
16. Negli strali, nell’arco possente (2:38)
17. Non piu! L’eroe trojano, illustri atleti (0:50)
01. Per te, signor (2:12)
02. Quegli occhi belli (9:48)
03. Ah ferma! Ah senti! (3:24)
04. Mi fugge spietata (1:46)
05. Maestoso (8:23)
06. ATTO QUARTO – SCENA PRIMA – Temerario! E non basta (4:15)
07. SCENA SECONDA – Si, spietata, s’accende (9:18)
08. SCENA TERZA – Di te scordarmi, e vivere! (4:15)
09. SCENA QUARTA – Lo temei: non mi sento (4:44)
10. ATTO QUINTO – SCENA PRIMA – Elena a me s’asconde! (3:54)
11. Donzelle semplici, no, non credete (2:17)
12. Consolati, oh Regina! (3:36)
13. SCENA TERZA – T’inganni, il tuo destino (6:32)
14. Sempre a te saro fedele! (2:41)
15. SCENA ULTIMA – Viene al mar, tranquilla e l’onda (3:15)
16. Presto fugge la belta (2:58)

The Players:

(Josh Bennett singing “Spiagge Amate” in the Brendle Recital Hall of Wake Forest University)

Stereo, DDD, mp3, 320 kbps, 304.07 Mb, 2 hours 11 minutes. Covers, info & synopsis included.

Part1 —–  Part2 —–  Part3 —–  Part4

George Frideric Händel – Recorder Sonatas

George Frideric Händel –  Recorder Sonatas

Recorded at the Unitarian Church, Budapest from 4th to 7th May, 1992

About these works:
The publisher John Walsh issued Handel’s Op. 1, a set of sonatas for various instruments, in the 1730s. This was an attempt to cash in on Handel’s popularity by giving the public some Handel that they could play at home; mind you some of the sonatas in the set might not even be by Handel. Walsh had previously produced pirate editions of Handel’s music and Handel had nothing to do with the production of Op. 1. But subsequently he seems to have decided to join forces with the publisher and Walsh’s subsequent productions of Handel’s works benefited from the composer’s involvement.
The recorder sonatas were probably composed between 1724 and 1726 and our sources range from incomplete first copies and first drafts, copies by unidentified copyists as well as Walsh’s printed editions based on manuscripts of uncertain provenance. The G minor, F major, A minor and C major sonatas exist in Handel’s own fair copies. Walsh printed five of the sonatas, but transposed the D minor to B minor (for transverse flute). The B flat major sonata only exists in manuscript.
The sonatas all re-use material from elsewhere in Handel’s oeuvre, as was common in the period. He seems to have used the sonatas as something of a proving ground and a number of movements crop up in other forms in later, larger-scale works.

Track List:
01. Sonata in G Minor, Op.1 Nr.2 – Larghetto (2:09)
02. Sonata in G Minor, Op.1 Nr.2 – Andante (3:49)
03. Sonata in G Minor, Op.1 Nr.2 – Adagio (0:42)
04. Sonata in G Minor, Op.1 Nr.2 – Presto (2:08)
05. Sonata in A Minor, Op.1 Nr.4 – Larghetto (2:28)
06. Sonata in A Minor, Op.1 Nr.4 – Allegro (3:03)
07. Sonata in A Minor, Op.1 Nr.4 – Adagio (1:51)
08. Sonata in A Minor, Op.1 Nr.4 – Allegro (3:43)
09. Sonata in C Major, Op.1 Nr.7 – Larghetto (2:21)
10. Sonata in C Major, Op.1 Nr.7 – Allegro (2:32)
11. Sonata in C Major, Op.1 Nr.7 – Larghetto (1:58)
12. Sonata in C Major, Op.1 Nr.7 – A Tempo Di Gavotti (2:28)
13. Sonata in C Major, Op.1 Nr.7 – Allegro (1:54)
14. Sonata in F Major, Op.1 Nr.11 – Larghetto (2:14)
15. Sonata in F Major, Op.1 Nr.11 – Allegro (2:27)
16. Sonata in F Major, Op.1 Nr.11 – Siciliana (2:20)
17. Sonata in F Major, Op.1 Nr.11 – Allegro (2:28)
18. Sonata in D Minor, VH 367a – A Tempo Di Menuetto (1:40)
19. Sonata in D Minor, VH 367a – Andante – Allegro (4:42)
20. Menuet, HV 603 (1:02)
21. Gavotte, HV 604 (0:51)
22. Gigue, HV 599 (1:30)
23. Favoutite Air (From Scipone – Aria Of Lelio) (2:41)
24. Trio Sonata in F Major, HV 405 – Allegro (2:26)
25. Trio Sonata in F Major, HV 405 – Grave (1:50)
26. Trio Sonata in F Major, HV 405 – Allegro (2:36)

The Artists:
László Czidra: recorder
Zsolt Harsányi: recorder & basoon
Zsuzsa Pertis: clavichord
Pál Kelemen: violoncello

Stereo, DDD, mp3, 320 kbps, 139.30 Mb, 60:04 minutes. Covers & info included.

Part1 —–  Part2

George Frideric Händel – Ezio

George Frideric Händel – Ezio

Recorded at the St. Jean Baptiste Church, New York in May 1994.

About this Opera:
Ezio (Aetius) is an opera by George Frideric Handel. It was his last opera based on a libretto by Pietro Metastasio. Metastatio’s story was partly inspired by Jean Racine’s play Britannicus. The same libretto was also set by Nicola Porpora for an opera of the same name, first performed four years earlier. The opera received its first performance at the King’s Theatre, London on 15 January 1732. It received a total of only 5 performances before falling from the repertoire, in what turned out to be Handel’s greatest operatic failure. It did not receive another performance in London until 1977, by the Handel Opera Society at Sadler’s Wells Theatre. Winton Dean has stated that the failure of the opera related to the artistic incompatibility between the more “classical” nature of the libretto and the more “romantic” nature of the music. Handel’s Ezio is considered one of the purest examples of opera seria with its absence of vocal ensembles.

Track List:
01. Act I. Overture/Allegro (2:54)
02. Act I. March (1:31)
03. Act I. Recitative: Signor, vincemmo (1:10)
04. Act I. Aria: Se tu la reggia (2:57)
05. Act I. Recitative: Lascia ch’al sen (1:42)
06. Act I. Aria: Pensa (2:55)
07. Act I. Recitative: E tempo (0:52)
08. Act I. Aria: Caro padre (4:56)
09. Act I. Recitative: Un oltraggiato (0:53)
10. Act I. Recitative: Del vincitor (0:35)
11. Act I. Aria: Quanto mai (4:53)
12. Act I. Accompanied recitative/Aria: Se un bel (2:58)
13. Act I. Recitative: Ola (0:32)
14. Act I. Aria: Se povero (5:20)
15. Act I. Recitative: Ezio, il Cesareo (1:06)
16. Act I. Aria: So chi t’accese (4:08)
17. Act I. Recitative: Fulvia, ti vuol (2:07)
18. Act I. Aria: Finche un zeffiro (6:33)
19. George Frideric HÄNDEL – Organ concerto, Opus 4, No, 4: I. Allegro (4:09)
20. George Frideric HÄNDEL – Organ concerto, Opus 4, No, 4: II. Andante (6:16)
21. George Frideric HÄNDEL – Organ concerto, Opus 4, No, 4: III. Adagio (1:02)
22. George Frideric HÄNDEL – Organ concerto, Opus 4, No, 4: IV. Allegro (3:39)
23. Act II. Sinfonia (1:23)
24. Act II. Accompanied recitative: Qual (0:50)
25. Act II. Recitative: E pigro (3:06)
26. Act II. Aria: Va (3:47)
27. Act II. Accompanied recitative: Che fo (1:34)
28. Act II. Recitative: Cesare, a te (0:42)
29. Act II. Arioso: Recagli (1:14)
01. Ezio: Act II. Accompanied recitative/Aria: Nasce (6:24)
02. Ezio: Act II. Recitative: Germano (0:21)
03. Ezio: Act II. Aria: Finche (4:57)
04. Ezio: Act II. Recitative: Ezio qui vien (2:04)
05. Ezio: Act II. Aria: La mia constanza (5:17)
06. Ezio: Act II. Recitative: Chi di me (0:23)
07. Ezio: Act II. Aria: Eccomi (6:11)
08. Organ concerto, Opus 4, No.2: I. Allegro (5:53)
09. Organ concerto, Opus 4, No.2: II. Andante (0:46)
10. Organ concerto, Opus 4, No.2: III. Adagio (4:13)
11. Ezio: Act III. Sinfonia (1:10)
12. Ezio: Act III. Recitative: Ezio qui venga (1:44)
13. Ezio: Act III. Aria: Guarda pria (2:58)
14. Ezio: Act III. Recitative: Ebben (0:31)
15. Ezio: Act III. Aria: Peni tu (4:11)
16. Ezio: Act III. Recitative: Augusto (1:30)
17. Ezio: Act III. Aria: Se la mia vita (3:44)
18. Ezio: Act III. Recitative: Che mai (3:18)
19. Ezio: Act III. Aria: Per tutto (1:55)
20. Ezio: Act III. Recitative: Cara figlia (0:42)
21. Ezio: Act III. Aria: Tergi (2:36)
22. Ezio: Act III. Accompanied recitative: Misera (0:55)
23. Ezio: Act III. Aria: Ah, Non son io (2:39)
24. Ezio: Act III. Recitative: Inorridisci (1:04)
25. Ezio: Act III. Aria: Gia risuonar (5:56)
26. Ezio: Act III. Recitative: Ah, traditori (1:52)
27. Ezio: Act III. Coro finale: Stringo al sen (2:49)

The Players:

Stereo, DDD, mp3, 320 kbps, 368.97 Mb, 2 hours 32 minutes. Covers & info included.

Part1 —–  Part2 —–  Part3 —–  Part4

Dedicado a Silvia por su cumple.