Vivaldi, Piccolo-blockflotenkonzerte
Classical | Easy CD-DA, FLAC tracks, CUE, No Log | 1 CD, Cover, HQ | 210 MB
CD Date: March, 1986 | Gema
Classical | Easy CD-DA, FLAC tracks, CUE, No Log | 1 CD, Cover, HQ | 210 MB
CD Date: March, 1986 | Gema
| “ | Franz von Suppé or Francesco Suppé Demelli (April 18, 1819, Spalato (Split) – May 21, 1895 (aged 76), Vienna) was an Austrian composer of light operas from Croatia.[1][2] He was a composer and conductor of the Romantic period notable for his four dozen operettas. | ” |
| “ | Fabio Biondi (born March 15, 1961) is an Italian violinist and conductor. Born in Palermo, Sicily, Biondi began his international career at the age of 12 playing a concerto with the RAI Symphony Orchestra. When he was 16, he performed Bach's violin concertos at the Musikverein in Vienna. Since then, he has performed with a number of baroque ensembles including La Capella Reial, Musica Antiqua Wien, Seminario Musicale, La Chapelle Royale and Les Musiciens du Louvre. In 1989 Biondi founded Europa Galante, an Italian ensemble specializing in baroque music, that he directs. | ” |
| “ | Fabio Biondi (born March 15, 1961) is an Italian violinist and conductor. Born in Palermo, Sicily, Biondi began his international career at the age of 12 playing a concerto with the RAI Symphony Orchestra. When he was 16, he performed Bach's violin concertos at the Musikverein in Vienna. Since then, he has performed with a number of baroque ensembles including La Capella Reial, Musica Antiqua Wien, Seminario Musicale, La Chapelle Royale and Les Musiciens du Louvre. In 1989 Biondi founded Europa Galante, an Italian ensemble specializing in baroque music, that he directs. | ” |
| “ | This recording features a superb combination: James Levine, who has excellent timing for climaxes, great ear for drama, and knows how to get serious music to be playful, whimsical, brash, and sensitive when it is called for; and the Vienna Philharmonic, an orchestra whose culture is steeped in traditional dance, especially the waltz. This combination comes together to form a dramatic realization of some very familiar ballet suites. | ” |
| “ | On March 9th, 1998 the musicians of the Orchestra of the 18th Century reunited for the 48th time, not in Amsterdam as usual, but in Tokyo. Together with singers of the superb Netherlands Chamber Choir, they performed Mozart's great and beautiful Requiem. | ” |
| “ | Contents: Horn concerto in D makor, K412 -- Horn concerto in E flat major K495 -- horn concerto in E flat major, K417 -- Horn concerto in E flat major, K447 | ” |
| “ | El amor brujo (Love, the Magician) is a piece of music original composed by Manuel de Falla for a chamber group, then re-scored as a symphonic suite, and eventually as a ballet. The texts were by Gregorio Martínez Sierra. The work is distinctively Andalusian in character with the songs in the Andalusian dialect of the Gypsies. The music contains moments of remarkable beauty and originality and includes the celebrated Ritual Fire Dance and the Dance of Terror. | ” |
| “ | With the New York Philharmonic on its best behavior, Pierre Boulez uncorks a reading of Petrushka that is vibrant, energetic, and full-voiced, with razor-sharp rhythm and ensemble. The solos, played by the likes of Julius Baker (flute) and Paul Jacobs (piano), have never been more effectively done. The recording, with the sizzling sonics typical of CBS's multitrack heyday, offers an X-ray of the score; the remastering is excellent. | ” |
| “ | "Although these works were written for lute or mandolin, Eliot Fisk has arranged them for the modern guitar. In an interview with him, printed in the booklet, he explains exactly what he has done and how he has created these works, always with a mind to the period of the compositions. | ” |
| “ | Yes indeed, the Divine Miss Em has still got it. It was the late 1970s when Emma Kirkby first became the leading diva of the early-music revival. More than 20 years on, as this disc of mostly lesser-known Handel treats demonstrates--a follow-up to volume I--Kirkby remains a spectacular Handel singer. The pure tone, control over vibrato, astonishing agility, and immaculate delivery that made her world famous are all still in place; if anything, two decades of experience have made her even more brave and imaginative in the way she embellishes a da capo aria. It must be said that Kirkby also retains a somewhat restricted palette of vocal color. | ” |
| “ | Nathalie Stutzmann is a contemporary opera singer, renowned for her contralto voice. Born in Paris, France, 1965, she first studied with her mother (soprano Christiane Stutzmann), then at Nantes Conservatoire and later, at the Ecole d’Art Lyrique de l’Opéra de Paris, focusing on lied, under Hans Hotter's tutelage. She is well known for her interpretations of French melody and German lied. Her oeuvre includes major works of baroque, classical, romantic and 20th century music. Stutzmann also plays piano, bassoon and is a chamber musician. | ” |
| “ | Two delicious baroque concerts come from Naxos, the budget specialists winning top-class performances and recordings from Czechoslovak artists. The Danubius Ensemble offers a 70 minute programme of subtle and vivid trio sonatas by Telemann, Vivaldi, Fasch and Tartini. | ” |
| “ | Selection of lute pieces from Robert Dowland's (the son of the more famous John Dowland) "Varietie of Lute Lessons", a collection of 42 lute pieces by various contemporary lutenists. This is the original old RCA Victor/Seon release, later issued by Sony/Seon. From the booklet: "On his father's [John Dowland's] death, Robert Dowland succeeded him in his position. On his travels John Dowland had collected numerous lute solos by various European composers. The beneficiary of this compendium of European lute music from around the year 1600 was his son Robert, who, in 1610, published a selection of 42 pieces entitled "Varietie of Lute Lessons", comprising seven of each of the following: fantasies, pavans, galliards, allemandes, courantes and voltas. As well as some of his father's most important pieces and two of his own, the volume contains Italian, German, French and English compositions, some with no author given. On this recording Lutz Kirchhof plays approximately half of these soli." | ” |
| “ | Sergei Aleksandrovich Koussevitzky[1] (Russian: Сергей Александрович Кусевицкий) (July 26, 1874 – June 4, 1951), was a Russian-born Jewish conductor, composer and double-bassist, known for his long tenure as music director of the Boston Symphony Orchestra from 1924 to 1949. | ” |