Alison Balsom, Haydn Trumpet Concerto in Eb, 1st mov.
El 22 nov. 2009
Recorded live at Royal Albert Hall, London.
Agenda que recoge todo aquello que diariamente escucho, fundamentalmente música.
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Ralph Vaughan Williams - Fantasia on a Theme by Thomas Tallis Ralph Vaughan Williams (1872-1958), England Fantasia on a Theme by Thomas T...
lunes, 29 de agosto de 2016
viernes, 5 de agosto de 2016
Bach ( Misa breve luterana )
Bach: Missa brevis (Lutheran mass) BWV 234 in A major. Cantus Cölln, Junghänel
Cantus Cölln, directed by Konrad Junghänel.
Sabine Goetz, Gabriele Hierdeis - Sopran | Elisabeth Popien, Alexander Schneider - Alt | Wilfried Jochens, Hans Jörg Mammel - Tenor | Wolf Matthias Friedrich, Sebastian Noack - Bass
Ulla Bundies, Veronika Skuplik, Rachel Harris, Daniel Deuter - first violin | Anette Sichelschmidt, Volker Mühlberg, Cosima Taubert, Christine Moran - second violin | Friederike Kremers, Volker Hagedorn - Viola | Albert Brüggen, Maya Amrein Violoncello | Matthias Müller - Violone | Kate Clark, Marcello Gatti - Traverso | Stefanie Haegele, Henriette Boehm, Luise Haugk - Oboe | Vaclav Luks, Miroslaw Rovensky - Horn | Adrian Rovatkay, Katrin Lazar - bassoon | Carsten Lohff, Menno van Delft - Organ
Sabine Goetz, Gabriele Hierdeis - Sopran | Elisabeth Popien, Alexander Schneider - Alt | Wilfried Jochens, Hans Jörg Mammel - Tenor | Wolf Matthias Friedrich, Sebastian Noack - Bass
Ulla Bundies, Veronika Skuplik, Rachel Harris, Daniel Deuter - first violin | Anette Sichelschmidt, Volker Mühlberg, Cosima Taubert, Christine Moran - second violin | Friederike Kremers, Volker Hagedorn - Viola | Albert Brüggen, Maya Amrein Violoncello | Matthias Müller - Violone | Kate Clark, Marcello Gatti - Traverso | Stefanie Haegele, Henriette Boehm, Luise Haugk - Oboe | Vaclav Luks, Miroslaw Rovensky - Horn | Adrian Rovatkay, Katrin Lazar - bassoon | Carsten Lohff, Menno van Delft - Organ
jueves, 4 de agosto de 2016
Sibelius ( Sinfonía nº 7 )
Jean Sibelius: Symphony No. 7 in C major, op. 105
Jean Sibelius (1865-1957): Symphony No. 7 in C major, op. 105 [1924]
Adagio - Un pochettino meno adagio - Vivacissimo - Adagio - Allegro molto moderato - Vivace - Presto - Adagio
The Hallé Orchestra
Sir Mark Elder, conductor
Sibelius originally intended his Seventh Symphony to be in three movements, but in the end fashioned it into a single movement. It is cast in four distinct sections, however: a substantial opening Adagio is followed by a scherzo-like section, and then another, larger scherzo (which may have been spawned by the "Hellenic Rondo" idea that Sibelius had originally spoken of in regard to this work), and finally a recall of materials from the Adagio section. Initially entitled "Fantasia sinfonica," the work was subsequently restored to its status of symphony by the composer and would serve as his last foray in this genre.
The Seventh Symphony came as the climax of a lifetime's work for Sibelius. His ongoing search for new formal procedures that began with his Second Symphony reaches its acme in this sweeping, motivically concentrated and highly integrated work, containing elements of both sonata form and of rondo form. While many scholars have attempted to come up with different ways to classify the Seventh, it is a futile mental exercise to fit the work into traditional formal schemes, so complete is Sibelius' mastery of transition and control of simultaneous tempos.
The Adagio begins darkly, the strings rising from their bass range but soon reaching brighter terrain as motivic bits are assembled and the main thematic material begins to unfold. Soon a somewhat somber passage begins in the lower strings, building slowly and taking on an increasingly passionate manner, culminating in a powerfully epiphanic declaration, where strings soar and then trombones gloriously resound the symphony's main theme. The Adagio section ends in a relatively subdued and bright mood.
The scherzo-like section begins almost seamlessly, evolving subtly out of the Adagio's closing material. The tempo gradually quickens and the music works up a dark intensity, but the resulting mood is generally playful and light in the first half, but menacing in the latter portion, where churning strings incite the orchestra to a torrent that culminates in a recall of the Adagio's trombone theme, now given a more somber treatment. The ensuing section is playful and lighter, but also develops some tension in its middle portion. The scoring here is fairly light and the tempo markings, Allegro molto moderato/Poco a poco meno moderato, come across as leisurely, but not brisk or driven.
Early on, the final section features another statement of the trombone theme, which is now confident and overpowering in its sense of triumph. The music thereafter moves from an angelic, almost rapturous passage for mostly unaccompanied strings toward near-stasis, before finally building from quivering strings to a resounding, all-conquering conclusion.
Adagio - Un pochettino meno adagio - Vivacissimo - Adagio - Allegro molto moderato - Vivace - Presto - Adagio
The Hallé Orchestra
Sir Mark Elder, conductor
Sibelius originally intended his Seventh Symphony to be in three movements, but in the end fashioned it into a single movement. It is cast in four distinct sections, however: a substantial opening Adagio is followed by a scherzo-like section, and then another, larger scherzo (which may have been spawned by the "Hellenic Rondo" idea that Sibelius had originally spoken of in regard to this work), and finally a recall of materials from the Adagio section. Initially entitled "Fantasia sinfonica," the work was subsequently restored to its status of symphony by the composer and would serve as his last foray in this genre.
The Seventh Symphony came as the climax of a lifetime's work for Sibelius. His ongoing search for new formal procedures that began with his Second Symphony reaches its acme in this sweeping, motivically concentrated and highly integrated work, containing elements of both sonata form and of rondo form. While many scholars have attempted to come up with different ways to classify the Seventh, it is a futile mental exercise to fit the work into traditional formal schemes, so complete is Sibelius' mastery of transition and control of simultaneous tempos.
The Adagio begins darkly, the strings rising from their bass range but soon reaching brighter terrain as motivic bits are assembled and the main thematic material begins to unfold. Soon a somewhat somber passage begins in the lower strings, building slowly and taking on an increasingly passionate manner, culminating in a powerfully epiphanic declaration, where strings soar and then trombones gloriously resound the symphony's main theme. The Adagio section ends in a relatively subdued and bright mood.
The scherzo-like section begins almost seamlessly, evolving subtly out of the Adagio's closing material. The tempo gradually quickens and the music works up a dark intensity, but the resulting mood is generally playful and light in the first half, but menacing in the latter portion, where churning strings incite the orchestra to a torrent that culminates in a recall of the Adagio's trombone theme, now given a more somber treatment. The ensuing section is playful and lighter, but also develops some tension in its middle portion. The scoring here is fairly light and the tempo markings, Allegro molto moderato/Poco a poco meno moderato, come across as leisurely, but not brisk or driven.
Early on, the final section features another statement of the trombone theme, which is now confident and overpowering in its sense of triumph. The music thereafter moves from an angelic, almost rapturous passage for mostly unaccompanied strings toward near-stasis, before finally building from quivering strings to a resounding, all-conquering conclusion.
miércoles, 3 de agosto de 2016
Ruggero Leoncavallo - Mattinata
Ruggero Leoncavallo - Mattinata
Composed by Ruggero Leoncavallo in 1904, this song was dedicated to Enrico Caruso, who was the first to record it in 1904 with the composer at the piano.
Tenore: Placido Domingo
Text:
L'aurora di bianco vestita
Già l'uscio dischiude al gran sol;
Di già con le rosee sue dita
Carezza de' fiori lo stuol!
Commosso da un fremito arcano
Intorno il creato già par;
E tu non ti desti, ed invano
Mi sto qui dolente a cantar.
Metti anche tu la veste bianca
E schiudi l'uscio al tuo cantor!
Ove non sei la luce manca;
Ove tu sei nasce l'amor.
Ove non sei la luce manca;
Ove tu sei nasce l'amor.
Tenore: Placido Domingo
Text:
L'aurora di bianco vestita
Già l'uscio dischiude al gran sol;
Di già con le rosee sue dita
Carezza de' fiori lo stuol!
Commosso da un fremito arcano
Intorno il creato già par;
E tu non ti desti, ed invano
Mi sto qui dolente a cantar.
Metti anche tu la veste bianca
E schiudi l'uscio al tuo cantor!
Ove non sei la luce manca;
Ove tu sei nasce l'amor.
Ove non sei la luce manca;
Ove tu sei nasce l'amor.
Bach ( El arte de la fuga )
J. S. Bach - El arte de la fuga, BWV 1080 [Obra completa por Órgano]
0:00 - Contrapunctus I
3:12 - Contrapunctus II
6:24 - Contrapunctus III
9:20 - Contrapunctus IV
14:38 - Contrapunctus V
17:55 - Contrapunctus VI en Stylo Francese
22:04 - Contrapunctus VII por Augmentationem et Diminutionem
26:04 - Contrapunctus VIII
32:06 - Contrapunctus IX alla Duodecima
35:06 - Contrapunctus X alla Decima
39:30 - Contrapunctus XI Triple fugue
46:41 - Canone all'Ottava
49:35 - Duodecima Canone en Contrapunto alla Quinta 5
1:52 - Decima alla Canone en Contrapunto alla Terza
56:36 - Canone por Augmentationem en Contrario Motu
01:01:27 - Contrapunctus XIII recto
1:03:59 - Contrapunctus XIII inversus
01:06:57 - Contrapunctus XII recto
1:09:50 - Contrapunctus XII
ORGANO: Herbert Tachezi
3:12 - Contrapunctus II
6:24 - Contrapunctus III
9:20 - Contrapunctus IV
14:38 - Contrapunctus V
17:55 - Contrapunctus VI en Stylo Francese
22:04 - Contrapunctus VII por Augmentationem et Diminutionem
26:04 - Contrapunctus VIII
32:06 - Contrapunctus IX alla Duodecima
35:06 - Contrapunctus X alla Decima
39:30 - Contrapunctus XI Triple fugue
46:41 - Canone all'Ottava
49:35 - Duodecima Canone en Contrapunto alla Quinta 5
1:52 - Decima alla Canone en Contrapunto alla Terza
56:36 - Canone por Augmentationem en Contrario Motu
01:01:27 - Contrapunctus XIII recto
1:03:59 - Contrapunctus XIII inversus
01:06:57 - Contrapunctus XII recto
1:09:50 - Contrapunctus XII
ORGANO: Herbert Tachezi
John Dowland ( Lachrimae )
"Lachrimae" by John Dowland
Christopher Morrongiello performs "Lachrimae" (ca. 1590s) by John Dowland (1563–1626), Cambridge University Library manuscript DD.2.11. Filmed in the Chapel from Le Château de la Bastie d'Urfé at The Metropolitan Museum of Art.
Dvořák ( "Cuarteto nº 14 en La bemol mayor, Op. 105" )
Antonín Dvořák "Cuarteto nº 14 en La bemol mayor, Op. 105"
Cuarteto nº 14 en La bemol mayor, Op. 105
1.- Adagio, ma non troppo - Allegro appassionato. 08:13
2.- Molto vivace. 06:19
3.- Lento e molto cantabile. 07:29
4.- Allegro, non tanto. 10:00
Más información en mi blog: http://lakitara.blogspot.com.es/2015/...
Smetana Quartet:
Jiří Novák, primer violín.
Lubomír Kostecký, segundo violín.
Milan Škampa, viola.
Antonín Kohout, violonchelo.
1.- Adagio, ma non troppo - Allegro appassionato. 08:13
2.- Molto vivace. 06:19
3.- Lento e molto cantabile. 07:29
4.- Allegro, non tanto. 10:00
Más información en mi blog: http://lakitara.blogspot.com.es/2015/...
Smetana Quartet:
Jiří Novák, primer violín.
Lubomír Kostecký, segundo violín.
Milan Škampa, viola.
Antonín Kohout, violonchelo.
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