La bella Molinera. Die Schöne Müllerin Nros 1 a 6 (Parte 1 de 4)
La bella Molinera de Franz Schubert - Mario Martinez (canto) Cristian Gomez ( piano
Agenda que recoge todo aquello que diariamente escucho, fundamentalmente música.
Entrada destacada
Ralph Vaughan Williams - Fantasia on a Theme by Thomas Tallis Ralph Vaughan Williams (1872-1958), England Fantasia on a Theme by Thomas T...
viernes, 30 de junio de 2017
Vivaldi ( Agitata Da Due Venti From "La Griselda" por Cecilia Bartoli )
Cecilia Bartoli - Agitata Da Due Venti From "La Griselda" (Vivaldi)
Schubert ( Piano Trio No.2 in E flat, D.929 Op.100 | Beaux Arts Trio )
Schubert - Piano Trio No.2 in E flat, D.929 Op.100 | Beaux Arts Trio
Franz Peter Schubert (1797 † 1828)
Piano Trio No.2 in B flat major, D.929, Op.100
Klaviertrio Nr. 2 in Es-Dur, D. 929 Op. 100
The first performance at a private party in January 1828 to celebrate the engagement of Schubert's school-friend Josef von Spaun.
01. Allegro moderato (00:00)
02. Andante un poco mossa (12:46)
03. Scherzo. Allegro (21:47)
04. Rondo. Allegro vivace (28:44)
Performers:
Menahem Pressler, Piano
Daniel Guilet, Violin
Bernard Greenhouse, Cello
Beaux Arts Trio
Piano Trio No.2 in B flat major, D.929, Op.100
Klaviertrio Nr. 2 in Es-Dur, D. 929 Op. 100
The first performance at a private party in January 1828 to celebrate the engagement of Schubert's school-friend Josef von Spaun.
01. Allegro moderato (00:00)
02. Andante un poco mossa (12:46)
03. Scherzo. Allegro (21:47)
04. Rondo. Allegro vivace (28:44)
Performers:
Menahem Pressler, Piano
Daniel Guilet, Violin
Bernard Greenhouse, Cello
Beaux Arts Trio
jueves, 29 de junio de 2017
Chopin ( Complete Nocturnes, Brigitte Engerer )
Chopin, Complete Nocturnes, Brigitte Engerer
1. 0:06 Op. 9, No. 1 in B flat minor. Larghetto
2. 5:53 Op. 9, No. 2 in E flat major. Andante
3. 10:29 Op. 9, No. 3 in B major. Allegretto
4. 17:09 Op. 15, No. 1 in F major. Andante cantabile
5. 22:07 Op. 15, No. 2 in F sharp major. Larghetto
6. 25:43 Op. 15, No. 3 in G minor. Lento
7. 30:53 Op. 27, No. 1 in C sharp minor. Larghetto
8. 36:32 Op. 27, No. 2 in D flat major. Lento sostenuto
9. 42:27 Op. 32, No. 1 in B major. Andante sostenuto
10. 47:27 Op. 32, No. 2 in A flat major. Lento
11. 53:01 Op. 37, No. 1 in G minor. Lento
12. 59:51 Op. 37, No. 2 in G major. Andante
13. 1:06:17 Op. 48, No. 1 in C minor. Lento
14. 1:12:25 Op. 48, No. 2 in F sharp minor. Andantino
15. 1:20:11 Op. 55, No. 1 in F minor. Andante
16. 1:25:36 Op. 55, No. 2 in E flat major. Lento sostenuto
17. 1:31:19 Op. 62, No. 1 in B major. Andante
18. 1:38:51 Op. 62, No. 2 in E major. Lento
19. 1:45:11 Op. 72, No. 1 in E minor. Andante
20. 1:49:19 Op. posth in C sharp minor. Lento con gran espressione
21. 1:53:18 Op. posth in C minor. Andante sostenuto
2. 5:53 Op. 9, No. 2 in E flat major. Andante
3. 10:29 Op. 9, No. 3 in B major. Allegretto
4. 17:09 Op. 15, No. 1 in F major. Andante cantabile
5. 22:07 Op. 15, No. 2 in F sharp major. Larghetto
6. 25:43 Op. 15, No. 3 in G minor. Lento
7. 30:53 Op. 27, No. 1 in C sharp minor. Larghetto
8. 36:32 Op. 27, No. 2 in D flat major. Lento sostenuto
9. 42:27 Op. 32, No. 1 in B major. Andante sostenuto
10. 47:27 Op. 32, No. 2 in A flat major. Lento
11. 53:01 Op. 37, No. 1 in G minor. Lento
12. 59:51 Op. 37, No. 2 in G major. Andante
13. 1:06:17 Op. 48, No. 1 in C minor. Lento
14. 1:12:25 Op. 48, No. 2 in F sharp minor. Andantino
15. 1:20:11 Op. 55, No. 1 in F minor. Andante
16. 1:25:36 Op. 55, No. 2 in E flat major. Lento sostenuto
17. 1:31:19 Op. 62, No. 1 in B major. Andante
18. 1:38:51 Op. 62, No. 2 in E major. Lento
19. 1:45:11 Op. 72, No. 1 in E minor. Andante
20. 1:49:19 Op. posth in C sharp minor. Lento con gran espressione
21. 1:53:18 Op. posth in C minor. Andante sostenuto
miércoles, 28 de junio de 2017
Tchaikovsky ( Rococo Variations, Op 33 por Mstislav Rostropovich )
Mstislav Rostropovich - Tchaikovsky - Rococo Variations, Op 33
Pyotr Ilyich Tchaikovsky
Rococo Variations, Op 33
Mstislav Rostropovich, cello
Boston Symphony Orchestra
Seiji Ozawa, conductor
Live recording. Boston, December 1985
Rococo Variations, Op 33
Mstislav Rostropovich, cello
Boston Symphony Orchestra
Seiji Ozawa, conductor
Live recording. Boston, December 1985
Aaron Copland ( Fanfarria del hombre corriente )
Fanfarria para el hombre corriente. Aaron Copland
Concierto " Voces para la Paz " 2005
Teatro Monumental. Madrid 8 Mayo 2005
Director: Jesús López Cobos
Teatro Monumental. Madrid 8 Mayo 2005
Director: Jesús López Cobos
lunes, 26 de junio de 2017
Berlioz ( La Damnation de Faust Op. 24 Marche Hongroise )
Hector Berlioz - La Damnation de Faust Op. 24 Marche Hongroise
Camille Saint-Saëns ( La Bacanal de Sansón y Dalila )
Camille Saint-Saëns Sansón y Dalila, danza bacanal.OSRTVE
Orquesta Sinfónica De Radiotelevisión Española, Manuel Hernandez Silva
sábado, 24 de junio de 2017
Bach ( Concierto de Brandeburgo nº 6 )
Bach: Brandenburg Concerto No. 6 in B flat major, BWV 1051 (Freiburger Barockorchester)
From the "Spiegelsaal" Castle Cöthen (Schloß Köthen)
Freiburger Barockorchester
0:13 I. Allegro
5:40 II. Adagio ma non tanto
10:07 III. Allegro
But the DVD: http://amzn.to/2rhCAcm
Want to learn more about the Brandenburg Concertos? Don't miss this documentary with the internationally acclaimed pianist and Bach expert Robert Levin providing additional knowledge about the Brandenburg Concertos
Soloists:
Christian Goosses - 1st Viola
Annette Schmidt - 2nd Viola
Recorded at the Hall of Mirrors, Palace of Cöthen, 23-26 March 2000
Directed by Hans Hadulla, Produced by Isabel Iturriagagoitia
Executive Producers: Paul Smaczny & Bernd Hellthaler
Freiburger Barockorchester
0:13 I. Allegro
5:40 II. Adagio ma non tanto
10:07 III. Allegro
But the DVD: http://amzn.to/2rhCAcm
Want to learn more about the Brandenburg Concertos? Don't miss this documentary with the internationally acclaimed pianist and Bach expert Robert Levin providing additional knowledge about the Brandenburg Concertos
Soloists:
Christian Goosses - 1st Viola
Annette Schmidt - 2nd Viola
Recorded at the Hall of Mirrors, Palace of Cöthen, 23-26 March 2000
Directed by Hans Hadulla, Produced by Isabel Iturriagagoitia
Executive Producers: Paul Smaczny & Bernd Hellthaler
Bach ( Tocata y Fuga en re mayor BWV 565 por Karl Richter )
J.S.Bach-Toccata e Fuga BWV 565-Karl Richter
Verdi - Aida - O patria mia - Leontyne Price - Zubin Mehta
Verdi - Aida - O patria mia - Leontyne Price - Zubin Mehta (1980)
Giuseppe Verdi
Aida
Qui Radamès verrà ... O patria mia
Aida - Leontyne Price
Israel Philarmonic Orchestra
Zubin Mehta, conductor
Aida
Qui Radamès verrà ... O patria mia
Aida - Leontyne Price
Israel Philarmonic Orchestra
Zubin Mehta, conductor
Peter Pears & Benjamin Britten perform Henry Purcell
Peter Pears & Benjamin Britten perform Henry Purcell
viernes, 23 de junio de 2017
Hans Rott ( Symphony in E Major )
Hans Rott - Symphony in E Major (1880)
I. Alla Breve - 00:00
II. Adagio - Sehr Langsam - 9:22
III. Frisch und lebhaft - 20:19
IV. Sehr langsam - Belebt - 33:08
Hans Rott (1 August 1858--25 June 1884) was an Austrian composer. His music is little-known today, though he received high praise in his time from the likes of Gustav Mahler and Anton Bruckner.
Mahler called Rott:
"a musician of genius ... who died unrecognized and in want on the very threshold of his career. ... What music has lost in him cannot be estimated. Such is the height to which his genius soars in ... [his] Symphony [in E major], which he wrote as 20-year-old youth and makes him ... the Founder of the New Symphony as I see it. To be sure, what he wanted is not quite what he achieved. ... But I know where he aims. Indeed, he is so near to my inmost self that he and I seem to me like two fruits from the same tree which the same soil has produced and the same air nourished. He could have meant infinitely much to me and perhaps the two of us would have well-nigh exhausted the content of new time which was breaking out for music."
II. Adagio - Sehr Langsam - 9:22
III. Frisch und lebhaft - 20:19
IV. Sehr langsam - Belebt - 33:08
Hans Rott (1 August 1858--25 June 1884) was an Austrian composer. His music is little-known today, though he received high praise in his time from the likes of Gustav Mahler and Anton Bruckner.
Mahler called Rott:
"a musician of genius ... who died unrecognized and in want on the very threshold of his career. ... What music has lost in him cannot be estimated. Such is the height to which his genius soars in ... [his] Symphony [in E major], which he wrote as 20-year-old youth and makes him ... the Founder of the New Symphony as I see it. To be sure, what he wanted is not quite what he achieved. ... But I know where he aims. Indeed, he is so near to my inmost self that he and I seem to me like two fruits from the same tree which the same soil has produced and the same air nourished. He could have meant infinitely much to me and perhaps the two of us would have well-nigh exhausted the content of new time which was breaking out for music."
Hans Rott (Braunhirschengrund (actual Viena), Imperio austrohúngaro; 1 de agosto de 1858 – 25 de junio de 1884) fue un compositor y organista austríaco. Compañero de estudios de Gustav Mahler y Hugo Wolf y alumno predilecto de Anton Bruckner, es autor de un buen puñado de obras, entre académicas y visionarias. Su temprana muerte truncó una prometedora carrera como compositor, que debía alcanzar, incluso, el nivel de sus compañeros de estudio. Su música es poco conocida en la actualidad, aunque en su tiempo fue alabada por músicos tan meritorios como Mahler y Bruckner.
Gustav Mahler dijo de él:
un músico de genio..... que murió sin el reconocimiento deseado en el mismo umbral de su carrera. Lo que la música ha perdido con él es inconmensurable: su genio se elevaba a tal altura, ya en esa primera sinfonía que escribió con apenas 20 años, no exagero al decir que él fue el fundador de la Nueva Sinfonía, tal y como yo la entiendo. Pero lo que quería no llegó a conseguirlo plenamente. Es como si alguien lanzase un objeto con todas sus fuerzas, pero por ser poco hábil no alcanzase plenamente su objetivo. Pero yo sé a dónde quería llegar. En efecto, Rott se encuentra tan próximo de aquello que me resulta más personal e íntimo que ambos somos frutos del mismo árbol, nacidos del mismo suelo, nutridos por el mismo aire. Hubiera podido aprender mucho de él y, quizá, hubiéramos explotado los dos a fondo el contenido de esta nueva época que está en vías de brotar para la música.
jueves, 22 de junio de 2017
Solsticio de verano Concierto homenaje
ESPECTACULAR - Concierto de Solsticio de Verano 2013 - Marc Pulido y las Bilas
Momento del año en que el Sol, en su movimiento aparente, pasa por uno de los puntos de la eclíptica más alejados del ecuador y en el que se da la máxima diferencia de duración entre el día y la noche.
Bach ( Kantata BWV 147 - Nikolaus Harnoncourt )
Johann Sebastian Bach: Kantata BWV 147 - Nikolaus Harnoncourt
Johann Sebastian Bach (1685-1750)
♪ Cantata BWV 147, "Herz und Mund und Tat und Leben" (1716 & 1723)
The cantata is scored for four soloists and a four-part choir, a festive trumpet, two oboes (oboe d'amore, oboe da caccia), two violins, viola and basso continuo including bassoon. Its ten movements are in two parts, movements 1 to 6 to be performed before the sermon, the others after the sermon.
Part I
i. Chorus: Herz und Mund und Tat und Leben (based on movement 1 of the former work)
ii. Recitative (tenor): Gebenedeiter Mund!
iii. Aria (alto, oboe d'amore): Schäme dich, o Seele nicht
iv. Recitative (bass): Verstockung kann Gewaltige verblenden
v. Aria (soprano, violin): Bereite dir, Jesu, noch itzo die Bahn
vi. Chorale: Wohl mir, daß ich Jesum habe
Part II
vii. Aria (tenor): Hilf, Jesu, hilf, daß ich auch dich bekenne
viii. Recitative (alto): Der höchsten Allmacht Wunderhand
ix. Aria (bass, trumpet, oboes): Ich will von Jesu Wundern singen
x. Chorale: Jesus bleibet meine Freude
Christine Schäfer, soprano
Bernarda Fink, mezzo-soprano
Ian Bostridge, tenor
Christopher Maltman, baritone
Arnold Schoenberg Choir
Concentus Musicus Wien
Conducts: Nikolaus Harnoncourt
martes, 20 de junio de 2017
Debussy ( Claro de luna )
Claro de luna - Debussy
La Suite bergamasque de Claude Debussy es una suite para piano en varios movimientos. Aunque fue escrita en 1890, la obra no se publicó hasta 1905, y eso pese a que su autor intentó que no viese la luz, pues creía que esta obra de juventud estaba muy por debajo del nivel de sus composiciones más modernas.
La Suite toma su nombre de las máscaras de la Commedia dell'Arte de Bérgamo (Comedia del arte de Bérgamo) y está inspirada en las Fêtes galantes (Fiestas galantes) de Verlaine. Está dividida en cuatro piezas: un Preludio, un Minueto, el Claro de luna (la pieza más popular de Debussy) y un dinámico y contrastante Pasapiés.
La Suite toma su nombre de las máscaras de la Commedia dell'Arte de Bérgamo (Comedia del arte de Bérgamo) y está inspirada en las Fêtes galantes (Fiestas galantes) de Verlaine. Está dividida en cuatro piezas: un Preludio, un Minueto, el Claro de luna (la pieza más popular de Debussy) y un dinámico y contrastante Pasapiés.
lunes, 19 de junio de 2017
Sanchez Verdú ( Jardin de agua )
Jardín de agua (Deploratio V - Pierre Boulez in memoriam) de Sánchez Verdú por Alfonso Gómez
Fecha de nacimiento: 1968, Algeciras
Haendel ( Concerto grosso nº 1 )
G.F. HANDEL - Concerto Grosso Op. 6, No. 1 in G major HWV 319 -ASMIF- Neville Marriner
Georg Friedrich Händel - Concerto Grosso Op. 6, No. 1 in G major HWV 319 -Academy of Saint Martin in the Fields- Neville Marriner.
The Concerti Grossi, Op. 6, or Twelve Grand Concertos, HWV 319--330, are 12 concerti grossi by George Frideric Handel for a concertino trio of two violins and violoncello and a ripieno four-part string orchestra with harpsichord continuo. First published by subscription in London by John Walsh in 1739, in the second edition of 1741 they became Handel's Opus 6. Taking the older concerto da chiesa and concerto da camera of Arcangelo Corelli as models, rather than the later three-movement Venetian concerto of Antonio Vivaldi favoured by Johann Sebastian Bach, they were written to be played during performances of Handel's oratorios and odes. Despite the conventional model, Handel incorporated in the movements the full range of his compositional styles, including trio sonatas, operatic arias, French overtures, Italian sinfonias, airs, fugues, themes and variations and a variety of dances. The concertos were largely composed of new material: they are amongst the finest examples in the genre of baroque concerto grosso.
Concerto Grosso Op.6 No.1 HWV319
I. A tempo giusto
II. Allegro
III. Adagio
IV. Allegro
V. Allegro
The Concerti Grossi, Op. 6, or Twelve Grand Concertos, HWV 319--330, are 12 concerti grossi by George Frideric Handel for a concertino trio of two violins and violoncello and a ripieno four-part string orchestra with harpsichord continuo. First published by subscription in London by John Walsh in 1739, in the second edition of 1741 they became Handel's Opus 6. Taking the older concerto da chiesa and concerto da camera of Arcangelo Corelli as models, rather than the later three-movement Venetian concerto of Antonio Vivaldi favoured by Johann Sebastian Bach, they were written to be played during performances of Handel's oratorios and odes. Despite the conventional model, Handel incorporated in the movements the full range of his compositional styles, including trio sonatas, operatic arias, French overtures, Italian sinfonias, airs, fugues, themes and variations and a variety of dances. The concertos were largely composed of new material: they are amongst the finest examples in the genre of baroque concerto grosso.
Concerto Grosso Op.6 No.1 HWV319
I. A tempo giusto
II. Allegro
III. Adagio
IV. Allegro
V. Allegro
viernes, 16 de junio de 2017
Antonio Gimenez ( Intermedio de la Torre del Oro )
"La Torre del Oro (Intermedio)" de Gerónimo Giménez
La orquesta filarmónica de J.L.Moreno interpreta "La Torre del Oro (Intermedio)" de Gerónimo Giménez bajo la dirección del maestro Tulio Gagliardo.
jueves, 15 de junio de 2017
Bach ( Cantata Wer nur den lieben Gott läßt walten, BWV 93 )
Bach Cantata Wer nur den lieben Gott läßt walten, BWV 93, Karl Richter
J.S. Bach Cantata Wer nur den lieben Gott läßt walten, BWV 93
Cantata for the 5th Sunday after Trinity
1. Chorus: Wer nur den lieben Gott läßt walten
2. Recitative (+ chorale, bass): Was helfen uns die schweren Sorgen?
3. Aria (tenor): Man halte nur ein wenig stille
4. Duet aria (soprano, alto): Er kennt die rechten Freudenstunden
5. Recitative (+ chorale, tenor): Denk nicht in deiner Drangsalhitze
6. Aria (soprano): Ich will auf den Herren schaun
7. Chorale: Sing, bet und geh auf Gottes Wegen
Edith Mathis Sopran
Anna Reynolds Alt
Peter Schreier Tenor
Dietrich Fischer Dieskau Bass
Munchener Bach Orchester
Karl Richter Conductor
Cantata for the 5th Sunday after Trinity
1. Chorus: Wer nur den lieben Gott läßt walten
2. Recitative (+ chorale, bass): Was helfen uns die schweren Sorgen?
3. Aria (tenor): Man halte nur ein wenig stille
4. Duet aria (soprano, alto): Er kennt die rechten Freudenstunden
5. Recitative (+ chorale, tenor): Denk nicht in deiner Drangsalhitze
6. Aria (soprano): Ich will auf den Herren schaun
7. Chorale: Sing, bet und geh auf Gottes Wegen
Edith Mathis Sopran
Anna Reynolds Alt
Peter Schreier Tenor
Dietrich Fischer Dieskau Bass
Munchener Bach Orchester
Karl Richter Conductor
Suscribirse a:
Entradas (Atom)