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Wolfgang Amadeus Mozart – Le Nozze Di Figaro

Wolfgang Amadeus Mozart – Le Nozze Di Figaro

Recorded in Berlin in 1968.

About this opera:
Whatever the merits of sets made since, this one is ensured a revered place in the pantheon of Figaro recordings. Made in 1968, when Bohm was enjoying an Indian summer, it was based on a production by Sellner at the Deutsche Oper in Berlin and indeed the production was supervised by Sellner. Since its premiere under Bohm in 1963, he had led many revivals including some performances with this cast, around the time the recording was made, which surely accounts for this sense of a true ensemble felt all round and of a thought-through interpretation. The crisp, clear, yet spacious recording, seldom matched on more recent versions, only enhances the authority and warmth of the reading. Bohm radiates the wisdom of his years of attendance on the score without any slackening of his rhythmic grip or his demand for precision of execution. It was also part of Bohm’s genius to weld a heterogenous cast into a convincing whole. No need at this stretch of time to commend the singers individually; each has complete command vocally and dramatically of his or her role though one must just mention Janowitz’s dignified yet lively Countess and Mathis’s animated, alluring Susanna.

The Artists:
Chor Und Orchestra Der Deutschen Oper Berlin
Karl Böhm: conductor
Dietrich FIscher-Dieskau: Il Comte Di Almaviva
Gundula Janowitz: La Contessa Di Almaviva
Edith Mathis: Sussana
Herman Prey: Figaro
Tatiana Troyanos: Cherubino
Patricia Johnson: Marcellina
Martin Vantin: Don Curzio

Track List:
01. Overture (4:14)
02. Act 1, Duetto – Cinque…dieci…venti….trenta… (3:25)
03. Duettino – Se a caso madama la notte ti chiama (4:07)
04. Cavatina – Bravo, signor padrone! (4:27)
05. Aria – La vendetta, oh, la vendetta (3:55)
06. Duettino – Via, resti servita, madama brillante (4:00)
07. Aria – Non so piu cosa son, cosa faccio (6:19)
08. Terzetto – Cosa sento! tosto andante (5:21)
09. Coro – Giovanti liete, fiori spargente (4:37)
10. Aria – Non piu andrai, farfallone amoroso (3:52)
11. Act 2, Cavatina – Porgi, amor (8:47)
12. Canzona – Voi che sapete (4:05)
13. Aria – Venite…inginocchiatevi (3:13)
01. Recitativo – Quante buffonerie! (3:28)
02. Terzetto – Susanna, or via, sortite (4:08)
03. Duettino – Aprite, presto, aprite (2:32)
04. Finale – Esci, ormai, garzon malnato (7:54)
05. Signori, di fuori son già i suonatori (9:12)
06. Voi signor, che giusto siete (4:03)
07. Recitativo – Che imbarazzo è mai questo (2:25)
08. Duetto – Crudel! perchè finora farmi languir cosi? (3:30)
09. Recitativo ad Aria – Hai gia vinta la causa! – Vedrò, mentr’io sospiro (6:46)
10. Sestetto – Riconosci in questo amplesso (6:24)
11. Recitativo ed Aria – E Susanna non vien! – Dove sono i bei momenti (7:36)
12. Duettino – Su l’aria / Che soave zeffiretto (3:54)
1. Coro – Ricevete, o padroncina (3:35)
2. Finale – Ecco la marcia… andiamo (6:16)
3. Act 4, Cavatina – L’ho perduta (3:56)
4. Aria – Il capro e la capretta (5:28)
5. Aria – In quegli anni in cui val poco (4:04)
6. Recitativa ed Aria – Tutto e disposto – Aprite un po’ quegli occhi (5:01)
7. Recitativo ed Aria – Giunse alfin il momento – Deh vieni, non tardar (5:32)
8. Finale – Pian pianin le andrò più presso (11:35)
9. Gente,gente, all’armi, all’armi (5:07)

Stereo, ADD, mp3 (30 kbps CBR), 421.86 Mb, 173:12 minutes. Full info, synosis & covers included.
Part2 Part3 Part4Part5

George Frideric Händel – Samson

George Frideric Händel – Samson

Recorded at the Musikverein, Vienna, May 1992

About this work:
Samson (HWV 57) is an oratorio by George Frideric Handel. It was based on a libretto by Newburgh Hamilton, who based it on Milton’s Samson Agonistes, which in turn was based on the figure Samson in Chapter 16 of the Book of Judges. Samson is considered one of Handel’s finest dramatic works. The premiere was given in London on 18 February 1743. It was a great success, leading to a total of seven performances in its first season, the most in a single season of any of his oratorios. Samson retained its popularity throughout Handel’s lifetime and has never fallen entirely out of favor since. The well-known arias “Let the bright Seraphim” (for soprano) and “Total eclipse” (for tenor) are often performed separately in concert. Samson is usually performed as an oratorio in concert form, but on occasions has also been staged as an opera.

The Artists:
Concentus Musicus Wien
Nikolaus Harnoncourt: conductor
Arnold Schoenberg Chor
Erwin Ortner: chorus master
Anthony Rolfe Johnson: Samson
Roberta Alexander: Dalila
Jochen Kowalski: Micah
Anton Scharinger: Manoa
Alastair Miles: Harapha

Track List:
01. Symphony { Georg Friedrich Händel 1685-1759 } (5:28)
02. Menuet (2:58)
03. Chorus of Philistines: Awake the trumpet’s lofty sound (2:03)
04. Philistine Woman: Ye men of Gaza, hither bring (3:54)
05. Chorus of Philistines: Awake the trumpet’s lofty sound (1:13)
06. Samson(Air): Torments, alas! are not confined (5:57)
07. Micah (Air): O mirror of our fickle state (4:01)
08. Samson (Air): Total eclipse! no sun, no moon, all dark (3:27)
09. Micah (Accompagnato): Since light so necessary is to life (1:19)
10. horus of Israelites: O first created beam! (4:54)
11. Manoa (Rec): Oh miserable change! is this the man (0:54)
12. Manoa (Acc): The good we wish for, often proves our banes (1:09)
13. Manoa (Air): Thy glorious deeds inspir’d my tongue (4:17)
14. Samson (Acc): My genial spirits droop, my hopes are flat (1:19)
15. Micah (Air): Then long Eternity shall greet your bliss (0:54)
16. Chorus of Israelites: Then round about the starry throne (2:30)
17. Manoa (Rec): Trust yet in God! Thy father’s timely care (0:57)
18. Micah (Air): Return, oh God of hosts! (3:49)
19. Chorus of Israelites:To dust his glory they would tread (5:25)
20. Attendant to Dalila: With plaintive notes and am’rous moan (6:20)
21. Samson (Air): Your charms to ruin led the way (3:49)
22. Dalila,Vergin (Duet): My (Her) faith and truth, oh Samson, prove (4:44)
23. Chorus of Virgins: Her faith and truth, oh Samson, prove (1:11)
24. Dalila (Air): To fleeting pleasures make your court (1:37)
25. Chorus of Virgins: Her faith and truth, oh Samson, prove (1:18)
01. Samson, Dalila (Rec.): N’er think of that! (1:16)
02. Dalila, Samson (Duet): Traitor (Traitress) to love! I’ll sue (hear) no more (2:18)
03. Chorus of Israelites: To man God’s universal law (4:19)
04. Harapha (Air): Honour and arms scorn such a foe (5:18)
05. Samson, Harapha (Duet): Go, baffled coward, go / Presume not on thy God (3:05)
06. Chorus of Israelites: Hear, Jacob’s God, Jehovah, hear! (3:15)
07. Philistine (Air): To song and dance we give the day (1:23)
08. Chorus of Philistines: To song and dance we give the day (2:06)
09. Chorus of Israelites and Philistines: Fix’d in his everlasting seat (2:54)
10. Micah (Rec.): More trouble is behind: for Harapha (1:27)
11. Harapha (Air): Presuming slave, to move their wrath (2:56)
12. Chorus of Israelites: With thunder arm’d, great God, arise! (4:23)
13. Samson (Accompagnato): Jehovah’s Glory known! (0:30)
14. Samson (Air): Thus when the sun from’s wat’ry bed (4:03)
15. Micah (Accompagnato): With might endued above the suns of men (0:32)
16. Micah (Air): The Holy One of Israel be thy guide (1:26)
17. Chorus of Israelites: To fame immortal go (1:20)
18. Philistine (Air): Great Dagon has subdued our foe (1:55)
19. Chorus of Philistines: Great Dagon has subdued our foe (2:23)
20. Manoa (Air): How willing my paternal love (2:49)
21. A Symphony of horror and confusion (0:23)
22. Chorus of Philistines: Hear us, our God, oh hear our cry! (3:08)
23. Micah (Air): Ye sons of Israel, now lament (2:03)
24. Chorus of Israelites: Weep, Israel, weep a louder strain (1:11)
25. A Dead March (3:42)
26. Chorus of Israelites: Glorious hero, may thy grave (5:13)
27. Israelitish woman(Air): Let the bright Seraphim in burning row (3:13)
28. Chorus of Israelites: Let their celestial concerts all unite (3:18)

Stereo, DDD, mp3 (320 kbps CBR), 366.45 Mb, 147:44 minutes. Full info, synopsis & covers included.

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Música para Vihuela III. Alonso Mudarra: Tres Libros De Música En Cifras Para Vihuela

Recorded in November 1991.

About these works:
The “Vihuela de mano” is a somewhat mysterious instrument. It evolved in Spain alongside the lute which it replaced at the begining of the 16th century and from which it differed in its guitar-like flat back and waisted shape. Alonso de Mudarra was a sixteenth century Spanish composer and vihuelist known for his songs and his numerous innovations in the field of instrumental music. He lived in relative luxury throughout his life. His upbringing and education were in the ducal household in Guadalajara. Duke Iñigo López de Mendoza (1493-1566), a highly cultured man and fine lutenist, may have been a mentor to the young de Mudarra, influencing him toward study of the vihuela. De Mudarra was eventually considered one of the best vihuelaplayers in Seville. With de Mendoza, he’s believed to have traveled to Italy in 1529 in the retinue of Charles V. Soon after his return, he was ordained a priest, and then took a canonry at the Seville Cathedral on the October 18, 1546. Aside from creating his considerable output of music, for the rest of his life de Mudarra played an important role in the affairs of the cathedral. He did such things as deal with the composers commissioned to produce music for feast-days, hired performers, and negotiated the purchase and installation of a new organ. Later he was in charge of all the cathedral’s monetary disbursements. As a sign of the kind of man de Mudarra might have been, despite his social privilege his will stated that upon his death (which came in 1580) all of his possessions were to be sold and the money given to the poor. de Mudarra’s major publication was Tres libros de musica en cifras para vihuela (Three Books of Music in Tablature for Vihuela, 1546). The range of genres and styles suggest that it’s a comprehensive sample of what he’d composed up to that point in his life. It contains 77 works and introduces numerous innovations. There are intabulations of motets and mass sections by Flemish composers, the earliest known pieces for modern guitar, a piece for harp or organ notated in a 14-line tablature system of de Mudarra’s invention, and suites of pieces grouped by mode. His preferred instrumental genre was the fantasia, of which Tres libros contains 27 true examples, while many of the other works draw on fantasia techniques. But above all it’s for his exquisite songs for vihuela and voice that de Mudarra is remembered. Subtle and economical of means, they’re rightly considered the finest Spanish songs of his century.
The sixteenth century Spanish courts supported a thriving tradition of composer-performers on a number of musical instruments: vihuela, organ, and harp. By the time Alonso de Mudarra, canon of the Cathedral of Seville, published his Tres libros de musica en cifras para vihuela (Three books of music in tablature for the vihuela, 1546), the tradition was already well underway. Other early volumes include those of Luis de Milán (Valencia, 1536), Luis de Narváez (Valladolid, 1538), Enríquez de Valderrábano (Valladolid, 1547), Diego Pisador (Salamanca, 1552), and Miguel de Fuenllana (Seville, 1553). Each volume offered to the players’ market a large compilation of solos, dance tunes, improvisations, and songs, and advertised both the musician and his patron. Mudarra thus took pains to introduce into the 77 pieces contained in his Tres libros de musica certain innovations: the first music ever published for guitar, some bolder chromaticism alongside more traditional fantasias and variations, and a new system for organ or harp tablature. At the same time, he demonstrated his mastery of all known vihuela genres in more traditional compositions, such as this pavan and galliard pair. While this pavan and galliard share the same mode and some melodic similarities, they are not necessarily unique in doing so (though Mudarra did experiment with suites for vihuela among the other pieces in the publication). Rather, they represent a more traditional pairing of courtly dances, for which numerous Spanish composers wrote music (and from which the Elizabethan English learned the fashion). Consonant with his tradition, Mudarra even suggests a noble dedicatee for the pair: the unidentified “Alexander” of the pavan’s subtitle. Also completely within the tradition, the opening pavan strides forth in a stately duple meter; this was the court’s entry dance, a processional that might need strong accents and repeated sections. Yet though Mudarra includes the strong duple accents, he imposes over them an equally strong pattern of three measures per harmony, with eight such groups. The second dance expected is the galliard, a more lively triple-meter dance. Mudarra complies, and his galliard shares mode and overall harmonic character, clear-cut phrase structure, and even some melodic motives and textural alternations (fast ornamentation and thick chords). Cleverly, the composer also returns to the rhythmic complexity of the pavan: the galliard contains larger cross-rhythms that preserve the hints of ambiguity between duple and triple meter.

The Performer:
Hopkinson Smith: vihuela de mano (Joël van Lemp, Boston)

Track List:
01. Pavana de Alexandre, Gallarda (3:44)
02. Primer Tono (7:24)
03. Fantasía fácil (2:11)
04. Segundo Tono (1:52)
05. Una Pavana (3:15)
06. Fantasía para desenbolver las manos (1:23)
07. Tercero Tono (5:21)
08. Fantasía (2:59)
09. Fantasía de pasos largos para desenbolver las manos (1:21)
10. Quarto Tono (2:17)
11. Conde Claros en doze maneras (1:58)
12. Tiento del Quinto Tono (0:49)
13. Fantasía de pasos para desenbolver las manos (1:13)
14. Fantasía fácil (2:24)
15. Sexto Tono (3:43)
16. Romanesca o Guárdame las vacas (2:58)
17. Séptimo Tono (3:35)
18. Fantasía fácil (1:58)
19. Octavo Tono (2:49)
20. Fantasía que contrahaze la harpa en la manera de Ludovico (1:56)
21. Una Pavana (2:11)
22. Fantasía del quarto tono (2:47)
23. Romanesca o Guárdame las vacas (1:47)
24. Fantasía del primer tono (1:28)
25. Fantasía del quinto tono (1:42)

Stereo, DDD. mp3 (320 kbps), 159.11 Mb, 65:05 minutes. Full info & covers included.

Música de Vihuela II. Luís de Narvaéz: Los Seis Libros Del Delfín De Música

Música de Vihuela II. Luís de Narvaéz: Los Seis Libros Del Delfín De Música

Recorded in September 1988

About this works:
The “Vihuela de mano” is a somewhat mysterious instrument. It evolved in Spain alongside the lute which it replaced at the begining of the 16th century and from which it differed in its guitar-like flat back and waisted shape. Narváez was a Spanish composer active during the second quarter of the sixteenth century. The Seys Libros del Delphin de Música was a large collection of his works for vihuela solo, published in 1538. It contains a selection of the vihuela music types of the day, including quasi-improvisatory fantasias, vihuela versions of multipart vocal pieces (many from outside Spain), sets of variations, and more. The popularity of the pieces the book contained is evident both from their wide distribution (they were reprinted as far afield as northern Europe, in versions for the more common lute) and from the presence in Spain of arrangements of them for keyboard instruments.

The Performer:
Hopkinson Smith: vihuela de mano (Joël van Lemp, Boston)

Track List:
01. Fantasia del Quarto Tono (3:15)
02. Una Baxa de Contra Punto (1:15)
03. Fantasia del Segundo Tono (3:21)
04. Fantasia del quarto tono (3:35)
05. La cancion del Emperador (3:04)
06. Je veulx laysser melancolie de ricafort (1:50)
07. Fantasia del septimo tono sobre ut re mi mi (4:10)
08. Siete Diferencias de guarda me las vacas (6:09)
09. Fantasia del primer tono (2:55)
10. Fantasia del Octavo Tono (3:03)
11. Sanctus de la missa de Faysanregres de Josquin (3:18)
12. Fantasia del sesto tono sobre fa ut mi re (3:32)
13. Fantasia del quinto tono (2:04)
14. Seys diferencias del hyno de nuestra senoza (7:44)
15. Sanctus de la missa d’Ercules dux ferarie de Josquin (3:22)
16. Fantasia del Primer tono (1:16)
17. Una cancion de Gombert (2:13)
18. Fantasia de primer tono (2) (1:05)
19. Cum sancto Spiritu de la missa de la fuga de Josquin (2:16)
20. Fantasia del Tercero tono (3:04)
21. Veynte y dos diferencias de Conde claros (2:59)

Stereo, ADD, mp3 (320 kps CBR), 161.05 Mb, 65:30 minutes. Full info & covers included.

Música de Vihuela I. Luís de Milán: El Maestro

Recorded between 1986 and 1989.

About theese works:
The “Vihuela de mano” is a somewhat mysterious instrument. It evolved in Spain alongside the lute which it replaced at the begining of the 16th century and from which it differed in its auitar-like flat back and waisted shape. “El Maestro”, printed in 1536, opened up a flourishing series of publications that wre to continue for the rest of the century.
It was in Valencia that Luís de Milán published in 1536 a work entitled “Libro de Música de Vihuela, El Maestro”. In the same year there appeared in Venice, Milan and Nuremberg important lute tablatures by Francesco de Milano, Castelonio and Hans Neusidler. Lu´çis de Milán was certainly influenced by his predecesor Castiglione. By 1535 he had already published a book of parlour games entitled “El Juego del Mandar”, but his most important work remains “El Maestro” which was one of the first of the instrumental tablatures printed in the Iberian peninsula. With this work, Luís de Milán appears as both a composer and pedagogue: this was the first collection of music for vihuela and at the same time a source of technical and theoretical information. The vihuela rivals the lute in its ability to move the listener even without the support of words.

The performer:
Hopkinson Smith: vihuela de mano (Joël van Lemp, Boston)

Track List:
01. Tonos 1 & 2- Fantasía XIII (1:53)
02. Tonos 1 & 2- Pavana I (1:18)
03. Tonos 1 & 2- Tento I (7:39)
04. Tonos 1 & 2- Fantasía XI (3:17)
05. Tonos 1 & 2- Fantasía X (2:18)
06. Tonos 3 & 4- Fantasía XII (2:35)
07. Tonos 3 & 4- Fantasía VIII (2:09)
08. Tonos 3 & 4- Tento II (5:39)
09. Tonos 5 & 6- Fantasía XVI (2:52)
10. Tonos 5 & 6- Pavana III (2:05)
11. Tonos 5 & 6- Fantasía XV (3:37)
12. Tonos 7 & 8- Fantasía XVIII (3:11)
13. Tonos 7 & 8- Pavana IV (1:53)
14. Tonos 7 & 8- Pavana V (1:21)
15. Tonos 7 & 8- Fantasía XXII (2:51)
16. Tonos 7 & 8- Tento IV (5:57)

Stereo, AAD, mp3 (320 kbps CBR), 122.41 Mb, 50:35 minutes. Info & covers included.

Various Artists – The Russian Opera Experience

Various Artists – The Russian Opera Experience

Published in 1997

About this works:
This recording presentes a fine selection of operas from the most famous russian composers of the 20th century. From Rimsky-Korsakov to Glinka trough Rachmaninov and Mussorgsky, the operas presented here rank among the most famous compositions of russian operas, all of them performed by the most prestigious former East Germany & Bulgarian orchestras and singers. A good opportunity to get familiar with the russian operas.

The Artists:
Rundfunk Sinfonieorchester Berlin – Michail Jurowsky (1 & 6)
Bulgarian Radio Symphony Orchestra – Stoyan Angelov (2 & 7)
Kölner Rundfunk Sinfonieorchester – Alexander Lazarew (3, 4 & 5)
Sofia National Opera Chorus & Orchestra – Dimiter Manolov (8)
Plovdic Philharmonic Orchestra – Rouslan Raychev (9,10 & 11)
Sofia National Opera Orchestra – Atanas Margaritov (12 & 13)
Sofia National Opera Orchestra – Ivan Marinov (14,15 & 26)

Track List:
01. Nicolai Rimsky-Korsakov / Snegurochka – Tanz der Spielleute (3:41)
02. Nicolai Rimsky-Korsakov / Schneeflöckchen – Blumenchor (4:48)
03. Nicolai Rimsky-Korsakov / Mainacht – He! Burschen (2:04)
04. Nicolai Rimsky-Korsakov / Mainacht – Ukrainische Nacht (2:42)
05. Nicolai Rimsky-Korsakov / Mainacht – Chor der Nixen (4:27)
06. Nicolai Rimsky-Korsakov / Das Märchen vom Zaren Saltan – Opernsuite op 57 (4:50)
07. Nicolai Rimsky-Korsakov / Die Boyarin Vera Sheloga – Wiegenlied (4:18)
08. Nicolai Rimsky-Korsakov / Der goldene Hahn – König Dodons Tod (7:48)
09. Serge Rachmaninov / Aleko – Tanz der Männer (4:49)
10. Serge Rachmaninov / Aleko – Chor der Zigeuner (2:57)
11. Serge Rachmaninov / Aleko – Cavatine des Aleko (5:51)
12. Modest Mussorgsky / Khovanshchina – Tanz der persischen Sklaven (6:52)
13. Modest Mussorgsky / Khovanshchina – Weissagung der Marfa (4:57)
14. Mikhail I. Glinka / Ivan Susanin – Polonaise (4:29)
15. Mikhail I. Glinka / Ivan Susanin – Rezitativ und Arie (5:23)
16. Mikhail I. Glinka / Ivan Susanin – Finale (3:59)

Stereo, ADD-DD, mp3 (320 kbps), 171.95 Mb, 73:55 minutes. Covers & info included.