Pietro Mascagni ( l'Intermezzo della Cavalleria Rusticana por Ricardo Muti )

Il Maestro Riccardo Muti dirige l'Intermezzo della Cavalleria Rusticana

 

Il maestro Riccardo Muti dirige magistralmente il celeberrimo 'Intermezzo" della Cavalleria Rusticana, del grande musicista livornese Pietro Mascagni e registrata al Festival di Ravenna del 1996 con l'Orchestra Sinfonica del Teatro Comunale di Bologna. 
Mascagni compose la Cavalleria Rusticana alla giovane età di ventisette annie e fu la sua prima opera in assoluto. E' stata presentata per la prima volta a Roma il 17 maggio 1890 al Teatro Costanzi, su libretto di Giovanni Targioni-Tozzetti e Guido Menasci ed è stata tratta dall'omonima novella del famoso scrittore catanese Giovanni Verga. Le scene si svolgono in un piccolo paese siciliano con protagonisti Turiddu (Salvatore in lingua italiana), Santuzza (diminutivo in lingua siciliana del nome Santa), Lola, Lucia e Alfio. La trama è una drammatica storia d'amore che si conclude con la morte di Turiddu che viene ucciso.
Il pezzo principale dell'opera ha fatto da sfondo ad una delle più celebri scene della storia del cinema, ne "Il Padrino" - Parte III, dove sulla scalinata del famoso Teatro Massimo di Palermo si consuma una strage di mafia.
L'Intermezzo è stato utilizzato da Martin Scorsese nei titoli di testa del suo film "Toro scatenato". 
La musica è stata ripresa da Vasco Rossi nell'Intro dei live 2007. 
L'Intermezzo è stato utilizzato, anche, in una scena dell'episodio 31 dell'anime Kenshin Samurai vagabondo.

 

Mahler ( 3º mvto 4ª sinfonía por Dudamel)

Mahler symphony No.1-3M (3/4) G.Dudamel Los Angles Philharmonic

 

 

Simon Y Garfunkel ( Mrs Robinson )

Mrs. Robinson (lyrics)

 

lyrics to Simon & Garfunkel song
"Mrs. Robinson"
featured in "Forrest Gump" and written for "The Graduate"

 

 

Donovan ( Lalena )

Donovan - Lalena (1968)

 

José de Nebra ( Amor aumenta valor )

José de Nebra, Amor aumenta el valor, aria. Ay amor, Ay Clelia mía. María Bayo, soprano.

 

_ Amor aumenta el valor (Love increases the value), opera, composed harmonic drama José de Nebra in 1728, for the Wedding of the Prince of Asturias, Fernando of Borbón and Infanta of Portugal Barbara of Bragança in the 20 of January of 1729.

-Intérpretes: Les Talens Lyriques, María Bayo, soprano.

 

Charpentier ( Marcha de triunfo H 547 )

Charpentier Marche de Triomphe H 547

 

 

Haendel ( Ombra mai fu ( Sombra nunca fue ? por Philippe Jaroussky )

Philippe Jaroussky - Ombra mai fu - Haendel's Serse

 

Konzerthausorchester Berlin, Vasily Petrenko

 

Mozart ( Sinfonía nº 35 " Haffner )

Mozart - Symphony No 35 in D major, K 385 - Pappano

 

Wolfgang Amadeus Mozart
Symphony No 35 in D major, K 385 "Haffner"

1 Allegro con spirito
2 Andante
3 Menuetto
4 Presto

Orchestra of the Academy of Santa Cecilia, Rome
Sir Antonio Pappano. conductor

Live recording. London, Proms 2013

 

Charles Gounod : Faust Waltz

Charles Gounod : Faust Waltz - Valse de Faust

 

Delibes ( Coppelia)

Bolshoi Ballet- Coppelia: Mazurka

 

The Act I Mazurka of Coppelia performed by the Bolshoi Ballet, 2011. Music by Leo Delibes.

 

Mozart ( Divertimento K138 )

Mozart / Divertimento in F major, K. 138

 

Wolfgang Amadeus Mozart (1756-1791)

Divertimento in F major for string quartet, K. 138/125c (1772)

00:00 - Allegro
03:38 - Andante
09:12 - Presto

Academy of St. Martin-in-the-Fields Chamber Ensemble (1984)

"Three early Mozart pieces, K. 137, 137 and 138, are labeled divertimentos on the manuscripts and are so listed in Grove. However, few Mozart scholars accept that tag as an accurate description of the works, and most doubt that the title came from Mozart. For one thing, a divertimento should have two minuets, and these three have none. At first glance they seem to be straightforward string quartets--yet many experts contend that they don't sound at all like string quartets. 

So what are they? Mozart scholar Alfred Einstein fancies them as small symphonies for strings, to which the composer was prepared to add extra parts for winds; they are sometimes known as the 'Salzburg symphonies.' Musicologist Hans Keller has given them the curious designation of 'orchestral quartets.' Others insist that they are indeed string quartets even if they lack the serious temper of that rarefied form. Yet (to complete the confusion) they are universally referred to as divertimentos--the one thing everyone agrees they are not.

Whatever they're called, they are fine examples of Mozart's early essays in chamber music...Mozart composed them in 1772, when he was 16, not long before leaving Salzburg on his third (and, as it turned out, his last) trip to Italy. He was going to Milan to produce the opera 'Lucio Silla' on a commission from Count Firmian, governor-general of that city. He probably expected, from previous experience, to need music to entertain the count's court while he was at work on the opera. So it seems likely that these three works were composed to meet that need. Mozart may have planned to present them with a small orchestra, as Einstein surmises, but here they are played by the four instruments of a string quartet.

The Divertimento in F, K. 138...is closer than [K. 136 & 137] to being what we now think of as a string quartet. The opening 'Allegro' is in the expansive style of the earlier pieces, but then the tone becomes more intimate. In the contemplative 'Andante' the first violin spins a melodic thread that ties all four strings into a close-knit, supportive quartet. This intricate ensemble work continues into the 'Presto' finale, a rondo that skips purposefully along with robust good humor." - Harvey B. Loomis

 

Maestro Rodrigo ( Concierto Andaluz)

 

RODRIGO- CONCIERTO ANDALUZ for Four Guitars and Orchester

1. Tiempo de Bolero 
2. Adagio-Allegro-Adagio 
3. Allegretto-Allegro-Allegretto

Guitarists:
Nick and David Kvaratskhelia,Peter Ernst, Christopher Brandt.
Philharmonie Merck
Conductor: Wolfgang Heinzel

 

 

 

 

 

 

Purcell ( The indian Queen )

H. Purcell: «The Indian Queen» Z. 630 [Academy of Ancient Music]

 

Henry Purcell 1659-1695

The Indian Queen
Semi-opera based on a tragedy by John Dryden and Robert Howard.
Masque music of the additional act by Daniel Purcell [1661-1717]

1. First Music - Air
2. Second Music - Air
3. Overture
4. Trumpet Tune

Prologue:
5. Wake Quivera, wake
6. Why should men quarrel
7. By ancient prophecies
8. Trumpet Tune

Act Two:
9. Symphony
10. I come to sing great Zempoalla's story
11. What flatt'ring noise is this
12. Scorn'd Envy, ther's nothing
13. Trumpet tune
14. We come to sing great Zempoalla's story
15. Dance
16. Second act tune

Act Three:
17. Dance
18. Ye twice ten hundred deities
19. Symphony - Seek not to know wha must not be reveal'd
20. Trumpet Overture
21. Ah! Ah! How happy are we
22. We the spirits of the air
23. I attempt form Love's sickness to fly in vain
24. Thrid Act tune: Rondeau

Act Four:
25. they tell us that you mighty powers aboce
26. Fourth act tune: Air

Act Five:
27. While thus we bow
28. You who at the altar stand - All dismal sounds

Additional Act: Masque [D. Purcell]
29. Symphony
30. To bless the genial bed - Come all, come at my call
31. I'm glad I have met him
32. The joys of wedlock soon are past
33. Make haste, make haste to put on love's chains
34. Trumpet air - Let loud renown with all her thousand tongues

John Mark Ainsley [Indian Boy]
Emma Kirkby [Indian Girl, Zempoalla]
John Mark Ainsley [Fame]
David Thomas [Envy]
Gerald Finley [Ismeron]
Thomas Williams [God of Dreams]
Catherine Bott [Orazia]
David Thomas [High Priest]
Gerald Finley [Hymen]
Libby Crabtree [A Follower of Hymen]

Academy of Ancient Music Chorus
Academy of Ancient Music Chamber Ensemble
Christopher Hogwood [conductor]