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Johann Sebastian Bach – St. Matthew Passion

Johann Sebastian Bach – St. Matthew Passion

Recorded at the Italian Insitute, Budapest from 6th to 14th of February 1993

About this work:
The St Matthew Passion, BWV  244, (German: Matthäus-Passion), is a musical composition written by Johann Sebastian Bach in 1727 for solo voices, double choir  and double orchestra, with libretto  by Picander  (Christian Friedrich Henrici). It sets chapters 26 and 27 of the Gospel of Matthew to music, with interspersed chorales  and arias. It is widely regarded as one of the masterpieces of classical sacred music. The original Latin title Passio Domini Nostri J.C. Secundum Evangelistam Matthaeum translates to: The Suffering of our Lord J.C. after the Evangelist Matthew. It is rendered in English also as St. Matthew Passion and in German also as Matthäuspassion. Only two of the four (or five) settings of the Passion which Bach wrote have survived; the other is the St John Passion. The St Matthew Passion was probably first performed on Good Friday (11 April) 1727[1] in the Thomaskirche in Leipzig, where Bach was the Kapellmeister. He revised it by 1736, performing it again on March 30, 1736, this time including two organs in the instrumentation. The St Matthew Passion was not heard outside of Leipzig until 1829, when Felix Mendelssohn performed an abbreviated and modified version of it in Berlin to great acclaim. Mendelssohn’s revival of the St Matthew Passion brought the music of Bach, particularly the large-scale works, to public and scholarly attention. Appreciation, performance and study of Bach have persisted into the present era. Meanwhile William Sterndale Bennett formed the Bach Society in 1849 with the intention of introducing the work to the English public. Helen Johnston (a student at Queen’s College London) translated the libretto, and Bennett conducted the first performance at the Hanover Square Rooms London on 6th April 1854. The soloists included Charlotte Helen Sainton-Dolby. The Sterndale Bennett edition was to be the first of many, the latest being by Neil Jenkins. The Bach Society was reformed in 1876 as The Bach Choir in London.

The Artists:
Hungarian State Symphony Orchestra
Géza Oberfrank: conductor

József Mukk: Evangelist
István Gáti: Jesus
Judit Németh: First Witness
Peter Köves: Judas
Péter Cser: Pilate
Ferenc Korpás: First High Priest
Rózsa Kiss: Pilate’s Wife
Ágenes Csenki: Second Maidservant

Hungarian Festival Choir
Ágnes Mester: Chorus master

Children’s Choir Of The Hungarian Radio
János Remémyi: Chorus Master

Track List:
01. Nr. 1 Chor mit Choral (Kommt, ihr Töchter, helft mir klagen!) (7:34)
02. Nr. 2 Rezitativ (Da Jesus diese Rede vollendet hatte) (0:33)
03. Nr. 3 Choral (Herzliebster Jesu, was hast du verbrochen) (0:47)
04. Nr. 4 Rezitativ und Chor (Da versammleten sich die Hohenpriester) (2:49)
05. Nr. 5 Rezitativ (Alt) (Du lieber Heiland du) (0:40)
06. Nr. 6 Arie (Alt) (Buß’ und Reu’) (4:14)
07. Nr. 7 Rezitativ (Da ging hin der Zwölfen einer) (0:30)
08. Nr. 8 Arie (Sopran) (Blute nur, du liebes Herz!) (4:47)
09. Nr. 9 Rezitativ und Chor (Aber am ersten Tage der süßen Brot) (1:48)
10. Nr. 10 Choral (Ich bin’s, ich sollte büßen) (0:50)
11. Nr. 11 Rezitativ (Er antwortete und sprach) (2:44)
12. Nr. 12 Rezitativ (Sopran) (Wiewohl mein Herz in Tränen schwimmt) (1:14)
13. Nr. 13 Arie (Sopran) (Ich will dir mein Herze schenken) (3:39)
14. Nr. 14 Rezitativ (Und da sie den Lobgesang gesprochen hatten) (0:56)
15. Nr. 15 Choral (Erkenne mich, mein Hüter) (0:59)
16. Nr. 16 Rezitativ (Petrus aber antwortete und sprach zu ihm) (1:01)
17. Nr. 17 Choral (Ich will hier bei dir stehen) (1:08)
18. Nr. 18 Rezitativ (Da kam Jesus mit ihnen zu einem Hofe) (1:32)
19. Nr. 19 Rezitativ (Tenor) mit Choral (O Schmerz!) (1:35)
20. Nr. 20 Arie (Tenor) mit Chor (Ich will bei meinem Jesu wachen) (5:25)
21. Nr. 21 Rezitativ (Und ging hin ein wenig) (0:42)
22. Nr. 22 Rezitativ (Bass) (Der Heiland fällt vor seinem Vater nieder) (0:47)
23. Nr. 23 Arie (Bass) (Gerne will ich mich bequemen) (4:27)
24. Nr. 24 Rezitativ (Und er kam zu seinen Jüngern) (1:13)
25. Nr. 25 Choral (Was mein Gott will) (1:27)
26. Nr. 26 Rezitativ (Und er kam und fand sie aber schlafend) (2:12)
27. Nr. 27 Arie mit Chor (So ist mein Jesus nun gefangen) (3:50)
28. Nr. 28 Rezitativ (Und siehe, einer aus denen) (2:02)
29. Nr. 29 Choral (O Mensch, bewein dein Sünde groß) (6:04)
01. Nr. 30 Arie (Alt) mit Chor (Ach, nun ist mein Jesus hin!) (3:32)
02. Nr. 31 Rezitativ (Die aber Jesum gegriffen hatten) (0:52)
03. Nr. 32 Choral (Mir hat die Welt trüglich gericht’) (0:50)
04. Nr. 33 Rezitativ (Und wiewohl viel falsche Zeugen) (1:05)
05. Nr. 34 Rezitativ (Tenor) (Mein Jesus schweight zu falschen Lügen stille) (0:53)
06. Nr. 35 Arie (Tenor) (Geduld! Geduld!) (3:26)
07. Nr. 36 Rezitativ und Chor (Und der Hohepriester antwortete und sprach zu ihm) (2:03)
08. Nr. 37 Choral (Wer hat dich so geschlagen) (0:51)
09. Nr. 38 Rezitativ und Chor (Petrus aber saß draußen im Palast) (2:14)
10. Nr. 39 Arie (Alt) (Erbarme dich, mein Gott!) (7:06)
11. Nr. 40 Choral (Bin ich gleich von dir gewichen) (1:14)
12. Nr. 41 Rezitativ und Chor (Des Morgens aber hielten alle Hohepriester) (1:48)
13. Nr. 42 Arie (Bass) (Gebt mir meinen Jesum wieder!) (3:30)
14. Nr. 43 Rezitativ (Sie hielten aber einen Rat) (1:51)
15. Nr. 44 Choral (Befiehl du deine Wege) (1:12)
16. Nr. 45 Rezitativ und Chor (Auf das Fest aber hatte der Landpfleger Gewohnheit) (2:21)
17. Nr. 46 Choral (Wie wunderbarlich ist doch diese Strafe!) (0:47)
18. Nr. 47 Rezitativ (Der Landpfleger sagte) (0:11)
19. Nr. 48 Rezitativ (Sopran) (Er hat uns allen wohlgetan) (1:00)
20. Nr. 49 Arie (Sopran) (Aus Liebe will mein Heiland sterben!) (4:49)
21. Nr. 50 Rezitativ und Chor (Sie schrieen aber noch mehr und sprachen) (1:52)
22. Nr. 51 Rezitativ (Alt) (Erbarm es Gott!) (0:48)
23. Nr. 52 Arie (Alt) (Können Tränen meiner Wangen Nichts erlangen) (6:26)
01. Nr. 53 Rezitativ und Chor (Da nahmen die Kriegsknechte des Landpflegers Jesum zu sich in das Richthaus) (1:01)
02. Nr. 54 Choral (O Haupt voll Blut und Wunden) (2:25)
03. Nr. 55 Rezitativ (Und da sie ihn verspottet hatten) (0:44)
04. Nr. 56 Rezitativ (Bass) (Ja! freilich will in uns das Fleisch und Blut) (0:32)
05. Nr. 57 Arie (Bass) (Komm, süßes Kreuz, so will ich sagen) (6:27)
06. Nr. 58 Rezitativ und Chor (Und da sie an die Stätte kamen mit Namen Golgatha) (3:22)
07. Nr. 59 Rezitativ (Alt) (Ach Golgatha, unsel’ges Golgatha!) (1:13)
08. Nr. 60 Arie (Alt) mit Chor (Sehet, Jesus hatdie Hand) (3:13)
09. Nr. 61 Rezitativ und Chor (Und von der sechsten Stunde an war eine Finsternis über das ganze Land) (2:02)
10. Nr. 62 Choral (Wenn ich einmal soll scheiden) (1:27)
11. Nr. 63 Rezitativ und Chor (Und siehe da, der Vorhang im Tempel) (2:14)
12. Nr. 64 Rezitativ (Bass) (Am Abend, da es kühle war) (1:24)
13. Nr. 65 Arie (Bass) (Mache dich, mein Herze rein) (7:44)
14. Nr. 66 Rezitativ und Chor (Und Joseph nahm den Leib) (2:20)
15. Nr. 67 Rezitativ (Solisten und Chor) (Nun ist der Herr zur Ruh gebracht) (1:37)
16. Nr. 68 Chor (Wir setzen uns mit Tränen nieder) (6:27)

Stereo, DDD, mp3 (320 kbps), 377.49 Mb, 120:43 minutes. Info & covers included.


George Frideric Händel – Radamisto

George Frideric Händel – Radamisto

Recorded at the Stadthalle, Göttingen, Germany on June 14-18, 1993.

About this opera:
Radamisto (HWV 12) is an opera in three acts by George Frideric Handel. It was Handel’s first opera for the Royal Academy of Music. It was first performed at the King’s Theatre, London on 27 April 1720 and was judged to be a success, resulting in 10 further performances. Its text was adapted in London (probably by Nicola Haym) from L’amor tirannico (Florence, 1712), which is based on Domenico Lalli’s L’amor tirannico (Venice, 1710), whose source was Georges de Scudéry’s L’amour tyrannique (Paris, 1639). Ordinarily, the text adaptor would sign (and profit from) the dedication in a libretto, but “George Frederic Handel” signed the dedication of Radamisto “to the King’s Most Excellent Majesty.” The only prompt copy for any Handel opera known to be extant is for this production, and its annotations imply a lavish affair. There were ten female and perhaps sixteen male supernumeraries, who served as soldiers or companions. During a scene-change (I, viii-ix) accompanied by a sinfonia, at least eight pike-bearing soldiers charged over a practicable bridge. In addition, dancers performed the four-part balli placed at the end of each act. Act I ends in Bb, the key of the ensuing Marche and Rigadon I, which are followed by Rigadon II in the relative minor, then by an Air in Bb. Act II ends in A, the key of a huge Passacaille (21 statements of an 8-bar pattern: 12 in A, 6 in the relative minor, plus 3 more in A) and a binary Gigue. Act III ends in D with a substantial chorus in rondo form (which was presumably danced), a Passepied based on the choral refrain, a Rigadon in the relative minor, a da capo of the Passepied, and a da capo of the choral refrain. Strings, oboes and bassoons play the dance music after acts I and II; two French horns and two trumpets join them to provide a true climax at the end of act III. The only other London operas for which Handel wrote ballets were those of 1734-5, when Marie Sallé danced at Covent Garden. It therefore seems clear that Radamisto was imbued with “Most Excellent Majesty.”
A revised version with different singers was written for a revival on 28 December 1720. More revisions followed for yet another version presented in 1721 and again for further revival in 1728. It was also given in Hamburg. The first modern performance was in Göttingen  on 27 June 1927. The first production in the US, in a semi-staged version, took place on 16 February 1980 in Washington, DC and the first fully-staged presentation was given at Mannes College, New York on 10 January 1992. Productions are fairly rare in modern times. They include the Gottingen Festival production of 1993 given in Zurich and conducted by Nicholas McGegan which was later recorded by Harmonia Mundi; Opera McGill in Montreal presented the 1720 revision in May 2006; and the Santa Fe Opera presented it with counter tenor David Daniels as part of its 2008 season.

The Artists:
Freiburger Barockorchester
Nicholas McGegan: conductor
Ralph Popken (countertenor): Radamisto
Juliana Gondek (soprano): Zenobia
Lisa Saffer (soprano): Polissena
Dana Hanchard (soprano): Tigrane
Monika Frimmer (soprano): Fraarte
Michael Dean (bass-baritone): Tiridarte
Nicloas Cavallier (bass): Farasmane

Track List:
01. Overture (3:50)
02. Cavatina (2:14)
03. Recitativo (1:31)
04. Aria (Fraarte) (3:30)
05. Recitativo (0:42)
06. Aria (Tigrane) (4:08)
07. Recitativo (1:06)
08. Aria(Polissena) (4:14)
09. Recitativo (1:40)
10. Aria (Tiridate) (4:17)
11. Recitativo (0:59)
12. Aria (Radamisto) (4:13)
13. Recitativo (2:16)
14. Aria (Zenobia) (4:45)
15. Recitativo (0:38)
16. Aria (Radamisto) (4:08)
17. Recitativo (0:32)
18. aria (Farasmane) (4:12)
19. Recitativo-Sinfonia (0:47)
20. Recitativo (2:24)
22. Aria (Tigrane) (4:50)
22. Recitativo (0:27)
23. Aria (Polissena) (4:42)
01. Sposo, vien meno il piè (0:39)
02. Quando mai, spietata sorte (2:42)
03. Oh crudo ciel! (3:41)
04. Vuol ch’io serva (5:41)
05. Prencipe generoso (0:22)
06. Ombra cara di mia sposa (8:07)
07. Mitiga il grave affanno (1:06)
08. Lascia pur amica spene (4:59)
09. Oh senza esempio dispietata sorte! (0:26)
10. Già che morir non posso (4:13)
11. Signor….E che mi rechi?. (2:16)
12. Si che ti renderai (4:03)
13. Nulla già di speranza (0:38)
14. Fatemi, o cieli, almen (5:40)
15. Questo vago giardin (0:46)
16. La sorte, il ciel, amor (4:40)
17. Adorato german, quanto più lieta (1:23)
18. Vanne, sorella ingrata (2:30)
19. Trà il german, trà lo sposo (0:23)
20. Che farà quest’alma mia (3:52)
21. Troppo sofferse (3:05)
22. Due seggi, olà! (3:48)
23. Empio, perverso cor! (2:14)
24. Ascolta, Ismen (1:24)
25. Se teco vive il cor (3:29)
01. Stanco di più soffrir (0:54)
02. S’adopri il braccio armato (3:22)
03. So ben che nel mio amore (0:27)
04. So ch’è vana la speranza (2:21)
05. Non temo, idolo mio (0:46)
06. Dolce bene di quest’alma (6:16)
07. O della Tracia, o dell’Armenia (2:56)
08. Vieni, d’empietà (1:02)
09. Vile! se mi dai vita (3:43)
10. Mio Rè, mi Tiridate, ascolta (1:04)
11. Barbaro! partirò (3:43)
12. Rarasmane la segua (0:55)
13. Alzo al volo (4:38)
14. Di Radamisto il capo? (0:49)
15. Deggio dunque, oh Dio (4:09)
16. Oh Dio! parte Zenobia (0:28)
17. Qual nave smarrita (5:34)
18. In questo tempio (2:04)
19. O cedere o perir (2:55)
20. Arrestatevi, o fidi! (1:48)
21. Non ho più affanni (1:54)
22. Festeggi omai la reggia (0:12)
23. Un dì più felice (3:22)

Stereo, DDD, mp3 (320 kbps), 448.43 Mb, 3 hours 11 minutes. Covers, info & synopsis included.


George Frideric Händel – Faramondo

George Frideric Händel – Faramondo

Recorded at the German Evangelical Lutheran Church of St. Paul, New York City in 1996 (world premiere recording)

About this work:
Faramondo (Pharamond, HWV  39) is an opera  in three acts by George Frideric Handel to an Italian text adapted from Apostolo Zeno’s Faramondo. This opera drew a blank with its first audiences in 1738. At the start of the 21st century, we can perhaps be more receptive to its quirky, schematic dramaturgy and its complex equation of sexual and military conquest. We are in the middle of a war, in which the armies of kings Faramondo and Gernando are allied against those of Gustavo and his son Adolfo. On each side, the leaders are rivals for the love of a woman in the opposite camp: Faramondo and Gernando are besotted with Gustavo’s daughter Rosimonda, while Gustavo and Adolfo have the hots for Faramondo’s sister Clotilde. There’s no real plot. What Handel gives us is an exploration of an emotional gridlock in which the dramatic tension is dependent on our growing awareness of the characters’ shifting perspectives. A cool, brilliant operatic game, it’s devastatingly realised by Diego Fasolis and I Barocchisti in a recording that for many will seem like countertenor heaven. Most people will probably want to hear it for either Max Emanual Cencic in the title role or Philippe Jaroussky’s Adolfo. The star turns, however, come from Xavier Sabata’s chameleon-like Gernando and from Marina de Liso as firebrand Rosimonda and Sophie Karthäuser as the irritatingly virtuous Clotilde. The whole thing is a revelation.

The Artists:
Brewer Chamber Orchestra
Rudolph Palmer: conductor
D’Anna Fortunato: Faramondo
Julianne Baird: Clotilde
Drew Minter: Gernando
Jennifer Lane: Rosimonda
Mary Ellen Callahan: Adolfo
Peter Castaldi: Gustavo
Lorie Gratis: Childerico
Mark Singer: Teobaldo

Track List:
01. Act I. Overture (6:33)
02. Act I. Accompanied Recitative: Popolo, figlio (1:11)
03. Act I. Chorus: Pera, pera (0:21)
04. Act I. Recitative: Chiede l’ombra (0:53)
05. Act I. Aria: Viva, si (3:37)
06. Act I. Recitative: Siam pur fuori (0:54)
07. Act I. Aria: Conoscero (4:17)
08. Act I. Recitative/Aria: Perdoni all’amor mio (6:31)
09. Act I. Recitative: A me dunque (1:31)
10. Act I. Aria: Vanne (4:06)
11. Act I. Recitative: Faramondo infelice (0:43)
12. Act I. Aria: Rival si tono (3:59)
13. Act I. Recitative/Aria: Va pur (4:59)
14. Act I. Recitative: Sino ad ora (1:27)
15. Act I. Arioso: Si, tornero (2:20)
16. Act I. Recitative/Aria: Quel nemico (4:19)
17. Act I. Recitative: Si, Clotilde (1:09)
18. Act I. Aria: Vado a recar (2:01)
19. Act I. Recitative: Dalla cittade (0:19)
20. Act I. Aria: Mi parto lieta (5:27)
21. Act I. Recitative: Fra quest’ombre (1:23)
22. Act I. Aria: Se ben (5:43)
01. Concerto Grosso Op. 6, No. 4 in A Minor: I. Larghetto affetuoso (2:37)
02. Concerto Grosso Op. 6, No. 4 in A Minor: II. Allegro (2:43)
03. Act II. Sinfonia (2:23)
04. Act II. Recitative: Gia udisti (1:44)
05. Act II. Aria: Si, l’intendesti (3:55)
06. Act II. Recitative/Aria: Si sdegna (4:53)
07. Act II. Recitative: Misero (0:37)
08. Act II. Aria: Poi che pria (5:58)
09. Act II. Aria: Combattuta (6:00)
10. Act II. Recitative: Faramondo in catene (1:05)
11. Act II. Aria: Se a piedi (3:58)
12. Act II. Recitative: Signor, umil (1:22)
13. Act II. Aria: Sol la brama (3:17)
14. Act II. Recitative: Tentai d’aver (0:39)
15. Act II. Aria: Nella terra (4:40)
16. Act II. Recitative: Childerico (1:03)
17. Act II. Duet: Vado e vivo (2:33)
01. Concerto Grosso Op. 6, No. 4 in A Minor: III. Largo, e piano (2:20)
02. Concerto Grosso Op. 6, No. 4 in A Minor: IV. Allegro (2:52)
03. Act III. Sinfonia (2:46)
04. Act III. Recitative: Mi tradiscono (1:13)
05. Act III. Duet: Caro, cara (5:14)
06. Act III. Recitative: Gia nel campo (0:27)
07. Act III. Aria: Cosi suole (4:30)
08. Act III. Recitative: Ritorna pu (0:39)
09. Act III. Aria: Voglio che sia (7:51)
10. Act III. Recitative: D’un oltraggiato (1:38)
11. Act III. Aria: Se ria procella (4:46)
12. Act III. Recitative: Non isdegnar (2:00)
13. Act III. Aria: Sappi, crudel (5:40)
14. Act III. Recitative: Clotilde, il tuo dolor (1:42)
15. Act III. Aria: Un’aura placida (6:01)
16. Act III. Recitative: Reggi il mio brando (1:53)
17. Act III. Aria/Chorus: Virtu che rende (5:23)

Stereo, DDD, mp3 (320 kbps), 397.49, 170:14 minutes. Full info & covers included.

George Frideric Händel – Amadigi Di Gaula (Highlights)

George Frideric Händel – Amadigi Di Gaula (Highlights)

Recorded at the Maison De La Radio, Studio 103, Paris between November & December 1989

About this work:
Amadigi di Gaula (HWV  11) is an opera with music by George Frideric Handel. The identity of the librettist is not known for certain. Previous consensus had been that John Jacob Heidegger was the librettist, but more recent research has indicated that that the librettist was more likely to be Giacomo Rossi, with Nicola Francesco Haym as another candidate. In addition to Handel, André Destouches wrote an opera based on this story, and David Kimbell has compared in detail the treatments of the story by Handel and Destouches. The origin of the story is a 1699 treatment of the knight-errantry  romance Amadis de Gaula by Antoine Houdar de la Motte. The opera received its first performance in London at the King’s Theatre in the Haymarket on 25 May 1715. The original cast included the celebrated castrato Nicolo Grimaldi. The opera was a success and received a known minimum of 17 further performances in London through 1717, and a similar number in Hamburg from 1717–1720, with a different title, Oriana. The opera then fell into neglect and was not revived until 1929 in Osnabrück and subsequently in England in 1968, by Unicorn Opera at the Abbey Hall, Abingdon. The original manuscript of Amadigi has disappeared, along with sections of the music. Only one edition of the libretto is known, dating from 1715. Two published editions of the opera exist, the Händelgesellschaft edition of 1874, and the first critical edition, by J. Merrill Knapp, which Bärenreiter published in 1971. Winton Dean has examined the history of various manuscripts which contain alternative selections for the score.

The Artists:
Les Musicienes Du Louvre
Marc Minkowski: conductor
Nathalie Stutzmann: Amadigi (contralto)
Jennifer Smith: Oriana (soprano)
Eiddwen Harrhy: Melissa (soprano)
Bernarda Fink: Dardano (contralto)
Pascal Bertin: Orgando (mezzo-soprano)

Track List:
01. Ouverture (4:36)
02. Atto primo – Aria (Amadigi) (3:36)
03. Atto primo – Aria (melissa) (5:03)
04. Atto primo – Aria (Dardano) (4:13)
05. Atto primo – Aria (Melissa) (3:34)
06. Atto secondo – Aria (Amadigi) (3:10)
07. Atto secondo – Aria (Oriana) (7:03)
08. Atto secondo – Aria (Oriana, Amadigi) (4:18)
09. Atto secondo – Duetto (Melissa, Amadigi) (4:31)
10. Atto secondo – Aria (Dardano) (5:39)
11. Atto secondo – Aria (dardano) (3:20)
12. Atto secondo – Aria (Oriana) (3:31)
13. Atto terzo – Aria (Oriana) (4:18)
14. Atto terzo – Aria (Melissa) (2:20)
15. Atto terzo – Duetto (Oriana, Amadigi) (4:15)
16. Atto terzo – Accompagnato (Ombra) (1:29)
17. Atto terzo – Aria (Amadigi) (4:41)
18. Atto terzo – Coro (2:40)

Stereo, DDD, mp3 (320 kbps), 169.49Mb, 72:23 minutes. Info, synopsis & covers included.

Éste es para Christelle: una pequeña introducción a la ópera barroca.

Antonio Vivaldi – 12 Concertos Op.3 L’Estro Armonico

Antonio Vivaldi – 12 Concertos Op.3 L’Estro Armonico

Recorded in Konstanz between May & June, 1992

About these works:
L’Estro Armonico, Op.  3, (“Harmonic Inspiration” in Italian) is a collection of twelve concertos for 1, 2 and 4 violins written by Antonio Vivaldi in 1711. It largely augmented the reputation of Vivaldi as Il Prete Rosso; (The Red Priest). Vivaldi scholar Michael Talbot went so far as to say the works are “perhaps the most influential collection of instrumental music to appear during the whole of the eighteenth century”. The collection was mostly put together in a chronological order. These concerti are often called concerti grossi due to their use of a concertino-style ensemble (solo cello is often used). Johann Sebastian Bach later transcribed six concertos from this set. Concertos Nos. 3, 9 and 12 were arranged for solo keyboard and are cataloged as BWV 978, 972 and 976. Also, Concertos Nos. 8 and 11 became Bach’s Concerti for solo organ, BWV’s 593 and 596. Lastly, the four-violin concerto No. 10 was reworked into the concerto for four harpsichords and strings, BWV 1065.

The Artists:
St. Petersburg Soloists
Michail Gantvarg: conductor

Track List:
01. Concerto No.01 in D major RV549 I Allegro (3:06)
02. Concerto No.01 in D major RV549 II Largo e spiccato (2:40)
03. Concerto No.01 in D major RV549 III Allegro (2:59)
04. Concerto No.02 in G minor RV578 I Adagio e spiccato (1:24)
05. Concerto No.02 in G minor RV578 II Allegro (2:09)
06. Concerto No.02 in G minor RV578 III Larghetto (3:34)
07. Concerto No.02 in G minor RV578 IV Allegro (2:43)
08. Concerto No.03 in G major RV310 I Allegro (2:09)
09. Concerto No.03 in G major RV310 II Largo (2:03)
10. Concerto No.03 in G major RV310 III Allegro (2:46)
11. Concerto No.04 in E minor RV550 I Andante (1:33)
12. Concerto No.04 in E minor RV550 II Allegro assai (2:30)
13. Concerto No.04 in E minor RV550 III Adagio (0:24)
14. Concerto No.04 in E minor RV550 IV Allegro (2:57)
15. Concerto No.05 in A major RV519 I Allegro (3:00)
16. Concerto No.05 in A major RV519 II Largo (1:43)
17. Concerto No.05 in A major RV519 III Allegro (3:02)
18. Concerto No.06 in A minor RV356 I Allegro (3:25)
19. Concerto No.06 in A minor RV356 II Largo (2:13)
20. Concerto No.06 in A minor RV356 III Presto (2:42)

01. Concerto No.07 in F major RV567 I Andante (2:14)
02. Concerto No.07 in F major RV567 II Adagio (0:59)
03. Concerto No.07 in F major RV567 III Allegro (2:43)
04. Concerto No.07 in F major RV567 IV Adagio (0:37)
05. Concerto No.07 in F major RV567 V Allegro (1:56)
06. Concerto No.08 in A minor RV522 I Allegro (3:35)
07. Concerto No.08 in A minor RV522 II Larghetto e spirituoso (3:57)
08. Concerto No.08 in A minor RV522 III Allegro (3:54)
09. Concerto No.09 in D major RV230 I Allegro (1:43)
10. Concerto No.09 in D major RV230 II Larghetto (3:52)
11. LConcerto No.09 in D major RV230 III Allegro (2:24)
12. Concerto No.10 in B minor RV580 I Allegro (3:40)
13. Concerto No.10 in B minor RV580 II Largo-Larghetto-Adagio-Largo (1:45)
14. Concerto No.10 in B minor RV580 III Allegro (3:20)
15. Concerto No.11 in D minor RV565 I Allegro-Adagio spiccato e tutti-Allegro (3:47)
16. Concerto No.11 in D minor RV565 ILargo e spiccato (2:50)
17. Concerto No.11 in D minor RV565 IAllegro (2:34)
18. Concerto No.12 in E major RV265 I Allegro (2:59)
19. Concerto No.12 in E major RV265 II Largo (2:36)
20. Concerto No.12 in E major RV265 III Allegro (2:49)

Stereo, DDD, mp3 (320 kbps), 235.09 Mb, 103:16 minutes. Info & covers included.


Antonio Vivaldi – 12 Concertos Op.9 “La Cetra”

Antonio Vivaldi – 12 Concertos Op.9 “La Cetra”

Recorded at St. John’s, Smith Square, London in 1975 ( Two Concerts for wind instruments) & 1977 (“La Cetra”)

About these works:
La Cetra may not be as well known or as frequently recorded as either Vivaldi’s Op. 8 (including the Four Seasons) or Op. 3, L’Estro Armonico, but it is well worth having in your collection. These twelve concertos offer a great deal of rewarding music: beautiful serenades, haunting largos, and even an occasional melody borrowed from the Seasons, fitted out with a striking new accompaniment. In La Cetra, Vivaldi frequently achieves a new level of expressiveness combined with virtuosity which helped pave the way for devilish exploits of Paganini.

The Artists:
Academy Of St. Martin-In-the-Fields
Iona Brown: violin & conductor (for “La cetra”)
Neville Marriner: conductor (for the other two concerts)

Track List:
01. Concerto No.1 in C maj, RV 181A – I. Allegro (3:41)
02. II. Largo (2:50)
03. III. Allegro (2:44)
04. Concerto No.2 in A maj, RV 345 – I. Allegro (4:17)
05. II. Largo (2:29)
06. III. Allegro (3:16)
07. Concerto No.3 in G minor, RV 334 – I. Allegro non molto (3:37)
08. II. Largo (3:22)
09. III. Allegro non molto (3:17)
10. Concerto No.4 in E maj, RV 263A – I. Allegro non molto (4:45)
11. II. Largo (3:03)
12. III. Allegro non molto (3:45)
13. Concerto No.5 in A minor, RV 358 – I. Adagio – Presto (3:40)
14. II. Largo (1:54)
15. III. Allegro (3:21)
16. Concerto No.6 in A maj, RV 348 – I. Allegro (3:52)
17. II. Largo (2:53)
18. III. Allegro non molto (5:17)
19. Concerto No.7 in B flat maj, RV 359 – I. Allegro (3:14)
20. II. Largo (2:21)
21. Concerto No.7 in B flat maj, RV 359 – Allegro (3:28)

01. Vivaldi: Concerto No.8 in D minor, RV 238 – I. Allegro (3:53)
02. II. Largo (2:31)
03. III. Allegro (3:21)
04. Vivaldi: Concerto No.9 in B flat maj, RV 530 – I. Allegro (3:37)
05. II. Largo e spiccato (3:29)
06. III. Allegro (3:08)
07. Vivaldi: Concerto No.10 in G maj, RV263A – I. Allegro molto (3:53)
08. II. Largo cantabile (3:00)
09. III. Allegro (3:10)
10. Vivaldi: Concerto No.11 in C maj, RV 198A – I. Allegro (4:25)
11. II. Adagio (2:42)
12. III. Allegro (3:35)
13. Vivaldi: Concerto No.12 in B minor, RV 391- I. Allegro non molto (5:28)
14. II. Largo (2:51)
15. III. Allegro (4:33)
16. Concerto for 2 oboes in D minor, RV 535 (9:02)
17. Vivaldi: Concerto for piccolo in C maj, RV 443 (10:58)

Stereo, DDD, mp3 (320 kbps), 333.43 Mb, 144:42 minutes. Full info & covers.


Jean-Philippe Rameau – Suite “Les Paladins”

Jean-Philippe Rameau – Suite “Les Paladins”

Recorded at St. Giles Cripplegate, London on January, 1991

About this work:
Les Paladins is an opera by Jean-Philippe Rameau first performed on 12 February 1760. The author of the libretto  is unknown, but it has been attributed to Duplat de Monticourt. Rameau called Les Paladins a comédie lyrique, putting it in the same category as his earlier work Platée.The comedie lyrique Les Paladins (1760) is one of the distressingly large number of Rameau operas that have never been recorded in anything like their full state. A tantalizing if frustrating glimpse of what we are thereby missing is provided on Rameau: Suite |Les Paladins’ (Philips 432 968-2, rec 1991). Here Gustav Leonhardt and the Orchestra of the Age of Enlightenment provide a generous selection of orchestral movements, some 24 in all. This is Rameau the orchestral master at his most inventive. The range of colours he manages to extract from a relatively restricted palette never ceases to amaze.

The Artists:

Orchestra Of The Age Of Enlightenment
Gustav Leonhardt: conductor

Track List:

01. Ouverture très vite (3:42)
02. Menuet lent (1:41)
03. Air gay (1:55)
04. Entrée des Pèlerins (4:02)
05. Loure (3:10)
06. Pantomime (2:28)
07. Air de furie (2:08)
08. Sarabande (3:12)
09. Menuet en rondeau I-II (5:40)
10. Entrée très gaye des Troubadours (2:42)
11. Air très gay (1:47)
12. Gavotte (0:30)
13. Menuet (0:56)
14. Contradanse (en rondeau) (1:12)
15. Entrée des Chinois (2:33)
16. Loure (2) (3:32)
17. Gigue vive (3:23)
18. Air vif (1:42)
19. Première gavotte gaye – deuxième gavotte (2:39)
20. Air très gay (2) (4:22)
21. Entrée des Paladines et ensuite Paladins (3:12)
22. Air pour les Pagodes (3:07)
23. Gavotte I-II (2:13)
24. Contredanse en rondeau (1:58)

Stereo, DDD, mp3 (320 kbps), 151.48 Mb, 63:45 minutos. Full info & covers included.