Ludwig van Beethoven - Works for solo piano

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The 32 Piano Sonatas by Ludwig van Beethoven are often referred to as the New Testament of the keyboard literature, following on the Old Testament of J.S. Bach's 48 preludes and fugues in the Well-Tempered Clavier. Composed over a period of almost three decades, from 1795 to 1822, the sonatas constitute a fascinating panorama of an artistic career which underwent numerous changes not to say upheavals but nevertheless remained remarkably consistent. Ever since the first recording of the entire cycle, by Artur Schnabel in the 1930s, a number of the world's leading pianists have given us their performances of this monumental collection on disc. One of the latest cycles is that of Ronald Brautigam, released on single discs between 2004 and 2010. Performed on the fortepiano, as part of a series of Beethoven's complete solo keyboard works, Brautigam's recordings have been described as riveting, compelling and revolutionary. The eight discs with the 32 sonatas are now being released as a boxed set, along with a ninth disc containing the early, unnumbered sonatas. Contributing factors to the refreshing directness that reviewers have experienced in these performances are the widely praised recorded sound and the carefully selected instruments, built by Paul McNulty after originals from 1788-1819 by the foremost Viennese makers of fortepianos.

contents:

CD 1

Piano Sonata No. 8 in C minor ("Pathétique"), Op.13

Piano Sonata No. 9 in E major, Op.14 No.1

Piano Sonata No. 10 in G major, Op.14 No.2

Piano Sonata No. 11 in B flat major Op.22

CD 2

Piano Sonata No. 1 in F minor, Op.2 No.1

Piano Sonata No. 2 in A major, Op.2 No.2

Piano Sonata No. 3 in C major, Op.2 No.3

Piano Sonata No. 19 in G minor, Op.49 No.1

CD 3

Piano Sonata No. 4 in E flat major, Op.7

Piano Sonata No. 5 in C minor, Op.10 No.1

Piano Sonata No. 6 in F major, Op.10 No.2

Piano Sonata No. 7 in D major, Op.10 No.3

CD 4

Piano Sonata No. 12 in A flat major ('Funeral March'), Op.26

Piano Sonata No. 13 in E flat major ('Quasi una fantasia'), Op.27 No.1

Piano Sonata No. 14 in C sharp minor ('Moonlight'), Op.27 No.2

Piano Sonata No. 15 in D major ('Pastoral'), Op.28

CD 5

Sonata No. 16 In G Major, Op.31 No.1

Sonata No. 17 In D Minor, 'Der Sturm', Op.31 No.2

Sonata No. 18 In E Flat Major, Op.31 No.3

CD 6

Piano Sonata No. 21 in C major, Op.53, "Waldstein"

Piano Sonata No. 23 in F minor, Op.57, "Appassionata"

Piano Sonata No. 24 in F sharp major, Op.78

Piano Sonata No. 25 in G major, Op.79

CD 7

Piano Sonata No. 26 in E flat major, Op.81a, “Das Lebewohl”

Piano Sonata No. 27 in E minor, Op.90 (1814)

Piano Sonata No. 29 in B flat major, Op.106, “Hammerklavier”

CD 8

Sonata No.28 in A major, Op.101

Sonata No.30 in E major, Op.109

Sonata No.31 in A flat major, Op.110

Sonata No.32 in c minor, Op.111

CD 9

Piano Sonata in E flat major ('Kurfürstensonate'), WoO 47/1

Piano Sonata in F minor ('Kurfürstensonate'), WoO 47/2

Piano Sonata in D major ('Kurfürstensonate'), WoO 47/3

Sonatina for piano in F major, WoO 50 (2 movements)

Sonatina for piano in G major, Anh. 5/1 (attributed)

Piano Sonata in C major ('Eleonorem Sonate'), WoO 51 

CD 10

7 Bagatelles, Op. 33

Allegretto in C Minor, Hess 69

Bagatelle in C Major, Hess 73

Bagatelle in E-Flat Major, Hess 74

Allegretto in C Minor, WoO 53

Andante in C Major

Bagatelle in C Major, WoO 54, "Lustig-Traurig"

Allegretto in C Major, WoO 56

Presto in C Minor, WoO 52

11 Bagatelles, Op. 119

Bagatelle in A Minor, WoO 59, "Fur Elise"

Bagatelle in B-Flat Major, WoO 60

Allegretto in B Minor, WoO 61

Allegretto quasi andante in G Minor, WoO 61a

Bagatelle in C Major, Hess 57

6 Bagatelles, Op. 126

CD 11

12 Variations on a Russian Dance from Wranitzky's Das Waldmadchen, WoO 71

8 Variations in C Major on the Romance Un fievre brulante from Gretry's Richard Coeur-de-lion, WoO 72

10 Variations on the Duet La stessa, le stessissima from Salieri's Falstaff in B-Flat Major, WoO 73

7 Variations in F Major on the Quartet Kind, willst du ruhig schlafen from Winter's Das unterbrochene Opferfest, WoO 75

8 Variations on the Trio Tandeln und Scherzen from Sussmayr's Solimann der Zweite in F Major, WoO 76

6 Variations in G Major on an Original Theme, WoO 77

15 Variations and a Fugue on an Original Theme in E-Flat Major, Op. 35, "Eroica Variations"

CD 12

9 Variations on a March by Dressler, WoO 63

6 Variations on a Swiss Song, WoO 64

24 Variations in D Major on Righini's Arietta Venni amore, WoO 65

13 Variations on the Arietta Es war einmal ein alter Mann from Dittersdorf's Das rothe Kappchen, WoO 66

12 Variations on the Menuet a la Vigano from Haibel's Le nozze disturbate, WoO 68

9 Variations in A Major on the Aria Quant' e piu bello from Paisiello's La molinara, WoO 69

6 Variations in G Major on the Duet Nel cor piu non mi sento from La molinara, WoO 70

Ronald Brautigam, fortepiano

John Dowland - The Art of Melancholy

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Of all English songwriters, John Dowland has enjoyed the most powerful afterlife, his voice unmistakably present in any version of his songs. The preeminent marriage of music and poetry, the nuanced shades of wit and melancholy and the extraordinary writing for both lute and voice all combine to proclaim Dowland as the father of English song.

Countertenor Iestyn Davies has gained international fame through his operatic performances (including lead roles at the Metropolitan Opera of New York and English National Opera) and recordings (including his Gramophone-Award-winning recording of Arias for Guadagni). Hearing him in this intimate musical setting is a revelation—as is the playing of the young lutenist Thomas Dunford.

contents:

1 - Sorrow, stay, lend true repentant tears

2 - Come again, sweet love doth now invite

3 - Go, crystal tears

4 - Mrs Winter's Jump

5 - I saw my lady weep

6 - Flow, my tears, fall from your springs

7 - Can she excuse my wrongs?

8 - Behold a wonder here

9 - Semper Dowland semper dolens

10 - In darkness let me dwell

11 - Time stands still

12 - All ye whom Love or Fortune hath betrayed

13 - Say, Love, if ever thou didst find

14 - Lachrimae

15 - Come away, come sweet love

16  - Burst forth, my tears

18 - Fortune my Foe

19 - Come, heavy Sleep

20 - Now, oh now I needs must part – The Frog Galliard

Iestyn Davies (countertenor)

Thomas Dunford (lute)

Il Codice di Guardiagrele - I Corali di S. Maria Maggiore

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"From the 10th to the 15th century the Abruzzo was not an isolated area, as D'Annunzio usually described it in his works. On the contrary, it was an important crossroads between northern and southern Italy and between Middle and Mediterranean Europe. The Abruzzo was also a gateway to East and the presence of a great number of traditional oral songs, which contain structures and stylistic elements of Balkan and Mozarabic singing. The Codex of Guardiagrele contained several pieces composed by artists from the Abruzzo and from other regions which worked in Guardiagrele at the church of Santa Maria Maggiore. These compositions clearly show that the musical production of polyphonic works was rich in this region."

contents:

01. Alleluya a 2

02. Rorate caeli

03. Sanctus I

04. Kyrie

05. Sanctus II

06. Gloria

07. Alleluya a 2

08. Sanctus a2

09. Patrem

10. Sanctus

11. Saltarello I (sul Sanctus a 3) 

12. Sanctus a 2

13. Saltarello II (sul Sanctus a 2)

14. Benedicta et venerabilis

15. Agnus Dei

16. Agnus Dei a 2

17. Questa fanciull' Amor

De Bon Parole

dir. Marco Giacintucci

Marco Giacintucci (vielle, lyre, symphonia, bagpipe)

Debora David (recorder)

Walter D'Arcangelo (portable organ)

Fabio Di Gabriele (drum)

aola Incani (cantus, chorus)

Emanuele Dell'Oso (tenor)

Daniela Santucci (cantus, chorus)

Szilvia Komaromi (chorus)

Venetian Music for Double Choir

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These superb performances of Venetian Music for Double Choir, have set the bench mark for this style of composition since it’s first appearance in 1993.

contents:

1. Lauda Jerusalem by Adrian Willaert 

2. Credidi, propter quod lucutus sum by Adrian Willaert 

3. Ricercar no 10 by Adrian Willaert 

Sacrae symphoniae, Book 1  by Giovanni Gabrieli

4. In te Domine speravi à 8

5. Beata es virgo à 6

6. Beata es virgo à 6

7. Sancta et immaculata virginitas à 8

8. Angelus Domini descendit

9. O Jesu mi dulcissime

Canzoni et sonate (21) by Giovanni Gabrieli

10. Canzon III a 6

Symphoniae sacrae, Book 2 by Giovanni Gabrieli

11. Exultavit cor meum

12. Sancta et immaculata à 7

13. Hodie completi sunt à 8

14. Benedictus es, Dominus

15. O quam suavis à 8

16. Hodie completi sunt à 8

Concerto Palatino

Currende

dir. Erik Van Nevel 

Johann Mattheson - Suites

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The discovery of music manuscripts from the estate of composer and music journalist Johann Mattheson in Armenia has been the cause of great excitement for fanciers of the German Baroque -- here, finally, is the opportunity to get to know this friend of Handel and Bach whose written words are so eloquent and informative, yet whose music has proven so elusive.

This 75-minute disc contains a little less than half the set of 12 harpsichord suites Mattheson published in England in 1714 and in Germany a little later, with four suites presented in excerpted form. 

There is a greater familiarity to the sound of Mattheson's suites in a general sense in that they relate very strongly to the French Suites of Johann Sebastian Bach, composed nearly a decade later.

Holtz's interpretations are splendid and well suit Mattheson's intentions through a sparing and tasteful use of ornaments and a steady yet flexible approach to tempi.

The instrument employed is in fabulous condition; it is clear, full-throated, and well intoned. Holtz acknowledges "Menno van Delft for lending his instrument," but we are not told what the instrument is; from the sound of it, it seems likely a harpsichord of modern make. Ramée's recording is close, transparent, and up front without being unrealistically loud. Friends of Baroque keyboard music should definitely keep an eye out for Ramée's Johann Mattheson's Suites.

Uncle Dave Lewis 

Classical Net review

contents:

Suite No. 1 in D Minor

Suite No. 12 in F Minor (extract)

Suite No. 11 In C Major (extract)

Suite No. 5 In C Minor (extract)

Suite No. 4 In G Minor (extract)

Suite No. 6 In E-Flat Major

Suite No. 9 In G Minor

Cristiano Holtz, harpsichord

El Organo de Papel de Leonardo da Vinci

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In 1992 Joaquín Saura deciphered a sketch of a portable organ with continuous bellows, vertical keyboard and paper pipes drawn by Leonardo on Codex Madrid II f. 76 recto. In this CD, Saura plays on his own reconstruction of Leonardo's organ, accompanied by Eduardo Paniagua and Cuarteto Musica Antigua, performing a programme of european fifteenth-century music.

contents:

01. Ich Bins Erfrewt - Anónimo (hacia 1480)

Cjlogauer Liederbuch

02. Mit Ganczem Willen - Conrad Paumann (1410–1473)

Fundamentum Organisandi, 1452

03. La pena sin ser sabida - Johannes Vincenet (hacia 1479)

Mellon Chansonier

04. My lady carey’s dompe - Anónimo (hacia 1525)

British Museum. Roy. App. 58.

05. Duo sin texto  - Anónimo S. XV

Cancionero de la Colombina f. 62, Sevilla

06. Una musque de Buscgaya - Josquin Desprez (hacia 1440–1521)

Canti C, Odhecaton, Petrucci, Venecia 1503.

07. La bassa Castiglia-Falla con misuras - Gulielmus (hacia 1415)

Biblioteca Comunale, Perugia MS. 431

08. Fortuna desperata - Antoine Busnois (hacia 1492)

British Museum Add. MS. 31922

09. Spanyöler Tancz  - Hans Weck (1495–1536)

Amerbach Buxheimer Orgelbuch, Munich

10. Pues no mejora mi suerte/sospiros - Anónimo

Cancionero de la Colombina, Sevilla S. XV

11. Innsbruk, ich Muss Dich Lassen - Heinrich Isaac (hacia 1450–1517)

Biblioteca de la Universidad de Basilea.

12. Justa fue mi perdición - Francisco de la Torre (S. XV, texto de Jorge Manrique

Cancionero de Segovia, Archivo de la Catedral.

13. Alta (Danza sobre La Spagna) - Francisco de la Torre (S. XV y XVI)

Cancionero Musical de Palacio, Bibl. Real, Madrid.

14. Je n’ay dueil - Alexander Agrícola (hacia 1446–1506)

Odhecaton, Petrucci, Venecia 1501

15–20. 6 Calatas a la spagnola - Joanambrosio Dalza (hacia 1500)

Intabolatura de Lauto, Milán 1508

Joaquín Saura, portable organ

Grupo Musica Antigua

Eduardo Paniagua

More Info HERE

Birds on Fire - Jewish Music for Viols

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The title of this recording is a quotation from Aaron Appelfeld’s 1939 novel Badenheim. The subtitle, “Jewish Music for Viols”, more accurately describes the contents: Fretwork have also recorded consort music by some of the Jewish composers at the Tudor court – the Bassanos and Lupos – along with two contemporaries in Holland, Philip van Wilder and Leonara Duarte, illustrating the extent to which they set aside the declamatory music of their forefathers in favour of the imitative polyphonic style prevailing in Northern Europe. Even the Venetian “Ebreo” Salamone Rossi borrowed from the Latin motet for his 1622 Songs of Solomon, stilo antico settings with Hebrew texts sung here by Jeremy Avis.
If you’re seeking the exotic, listen to tracks 1, 13 and 24. Orlando Gough, best known for his theatre music, composed Birds on Fire in 1997. This is demanding, wonderfully offbeat music inspired by Ashkenazi Klezmers (more cabaret than camera), which Fretwork brings off with a panache that astonishes and delights. Importantly, it demonstrates the extent to which the viol consort has been circumscribed by its historic – largely amateur – repertoire and suggests that it is capable of far more. Each of the three Gough pieces begins with eerie sounds and is characterised by a kaleidoscope of syncopated ostinati, droll pizzicato asides and sinewy, modal themes conveyed in parallel octaves. You’ll swear you can hear an organ, accordion, clarinet and a saxophone, but you don’t. Fascinating, liberating music!

www.arkivmusic.com

Contents:

Orlando Gough - Birds on fire
Salamone Rossi "Ebreo" - Hashkivenu
Anonymous - Pieces from the Lumley part books
Leonora Duarte - Two Sinfonias in 5 parts
Thomas Lupo - Fantasia in 6 parts
Orlando Gough - Birds on fire
Philip van Wilder - Fantasia con pause e senza pause
Thomas Lupo - Pavan in 3 parts N°26
Thomas Lupo - Fantasia in 5 parts N°5
Thomas Lupo - Fantasia in 6 parts N°9
Augustine Bassano - Pavan & Galliard
Hyeronimus Bassano - Fantasia N°1
Joseph Lupo - Pavana a 5
Thomas Lupo - Fantasia in 6 parts N°4 & N°11
Orlando Gough - Birds on fire
Salamone Rossi "Ebreo" - Shir hamma'alot



Fretwork
Jeremy Avis, voice




Anna Frank




Non dimenticare...
Ne pas oublier...
Don't forget...
No se olvide...
Не забудьте...
Vergessen Sie nicht...
Não se esqueça...


27-01-2016

Royal Rhymes and Rounds

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Royal Rhymes and Rounds is the King's Singers' contribution to the 60th anniversary of Queen Elizabeth II's accession to the throne in 2012. There are ballads, part songs, madrigals, rounds, and anthems written during the reigns of (and some also in honor of) Henry VIII, Elizabeth I, Victoria, and Elizabeth II. The music from the times of Henry and Elizabeth I is especially strong since it was the era of a flowering of English song, which then lay relatively dormant for several centuries. The composers include such luminaries as William Cornysh, Orlando Gibbons, John Dowland, and Thomas Weelkes, as well as Henry himself, whose rousing ballad Pastime with good companie opens the album. It's in this transparent repertoire that the group sounds its absolute best. The singers' immaculate intonation, focused tone quality, and sensitive musicianship are remarkable. The plummy tributes to Victoria are significantly less distinguished musically, but the group delivers performances of complete conviction. Elizabeth II is represented by the Choral Dances from Gloriana, the opera Benjamin Britten wrote in honor of her coronation, and here again the material gives the singers the opportunity to dazzle with the beauty, clarity, and liveliness of their tone. The album closes with a piece written especially for the occasion: A Rough Guide to the Royal Succession (It's just one damn King after another…), a witty and informative traversal of monarchs, right up to an irreverent, if not downright disrespectful paean to Elizabeth II and her family, with words and music by Paul Drayton. Signum's sound is clean, detailed, and intimate.

contents:

Pastime with good companie by King Henry VIII

Ah, Robin, gentle Robin by William Cornysh

Blow thy horn, hunter by William Cornysh

It is to me a right great joy by King Henry VIII

Hey, trolly lolly lo by Anonymous

Long live fair Oriana by Ellis Gibbons

The Silver Swan - Round by Orlando Gibbons

The Silver Swan by Orlando Gibbons

Fair Oriana, beauty's Queen by John Hilton

Lightly she whipped o'er the dales by John Mundy

Flow, O my tears by John Dowland

Weep, O mine eyes by John Bennet

As Vesta was from Latmos hill descending by Thomas Weelkes

The Triumph of Victoria by Sir Walter Parratt

Who can dwell with greatness? by Sir Hubert Parry

To her beneath whose steadfast star by Sir Edward Elgar

Time - Choral Dances from Gloriana by Benjamin Britten

Concord - Choral Dances from Gloriana by Benjamin Britten

Time and Concord - Choral Dances from Gloriana by Benjamin Britten

Country Girls - Choral Dances from Gloriana by Benjamin Britten

Rustics and Fishermen - Choral Dances from Gloriana by Benjamin Britten

Final Dance of Homage - Choral Dances from Gloriana by Benjamin Britten

A Rough Guide to the Royal Succession by Paul Drayton

The King's Singers

Francesco Cavalli - Heroines of the Venetian Baroque

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The opening of Venice’s first opera house, the Teatro di San Cassiano, in 1637, was one of the major events in the history of opera. The protagonists of these new operas henceforth represented all the social categories making up this public and who, in fact, had to be able to find themselves onstage. The gods were no longer the only ones to lay down the law, challenged by the Vices and Virtues who preached in the Prologues. The new heroes are kings, emperors, dictators, courtesans, as well as nurses, valets, soldiers, philosopher, and, above all, lovers. Whoever they might be, we find them sympathetic or antipathetic; all are glorified, all are ridiculed.

With his 27 existing operas, Francesco Cavalli gives us a fascinating version of this theatre of life. A single main thread runs through the excerpts drawn from each of them by Leonardo García Alarcón: the expression of human passions. They are all there, from ingenuousness to ecstasy, joy to anger, passionate love (and its erotic, sensual expression) to despair. This fascinating programme represents a new contribution to the knowledge of Cavalli’s operas and allows for unveiling part of the mystery still surrounding his works.

Jérôme Lejeune, Ricercar's artistic director, tells you all about the genesis of this project here!

contents:

Disc 1

Le nozze di Teti di Peleo

1 - Atto II: Scena 11: Mira questi duo lumi

2 - Atto II: Scena 6: Sinfonia di viole a 5

3 - Atto I: Scena 3: Hor con pania e con esca

Gli amori di Apollo e Dafne

4 - Atto I: Scena 8: Volgi, deh volgi il piede

Didone

5 - Atto II: Scena 2: Didone, ohimè, non riceve amante

6 - Atto II: Scena 2: Re de' Getuli altero

La virtù dei strali d'Amore

7 - Atto I: Scena 3: Occhi per pianger nati

Egisto

8 - Atto III: Scena 10: Amanti, se credete

L'Ormindo

9 - Atto: Scena 3: Aprite, aprite gl'occhi

La Doriclea

10 - Atto I: Scena 6: Udite, amanti

Giasone

11 - Atto I: Scena 15: Dell'antro magico

12 - Atto II: Scena 1: Lamento: Lassa, che far degg'io?

Orimonte

13 - Atto III: Scena 12: Caro Ernesto / Mia Cleanta (instrumental version)

Oristeo

14 - Atto I: Scena 4: Dimmi Amor, che farò?

La Rosinda

15 - Atto I: Scena 7: Non col ramo di Cuma

La Calisto

16 - Atto III: Scena I: Restino imbalsamate

17 - Atto III: Scena I: T'aspetto, e tu non viem

L'Eritrea

18 - Prologo: Ne le grotte arimaspe

La Veremonda

19 - Atto III: Scena 6: Tardano molto? Qui si fa il ballo de' tori

20 - Atto III: Scena 6: Che rumori, che voci? Qui se replica il ballo de' tori

Disc 2

L'Orione

1 - Prologo: Sinfonia a 3

Il Ciro

2 - Atto III: Scena ultima: Mia vita / Mio bene

Xerse

3 - Atto II: Scena 18: Ed é pur vero, o core

4 - Atto II: Scena 18: Luci mic, che miraste

Erismena

5 - Atto I: Scena 4: Speranze voi che siete

6 - Atto I: Scena 5: O stelle, a chi mi sforzate

7 - Atto I: Scena 5: A me il veleno?

La Statira

8 - Atto II: Scena 9: Menfi, mia patria, regno

Artemisia

9 - Atto II: Scena 6: Regina, udiste mai

Hipermestra

10 - Atto III: Scena 14: Quest'e un gran caso a; certo

Elena

11 - Atto II: Scena 14: Amazone non son

Xerse

12 - Atto II: Scena 1: Speranze, fermate (instrumental version)

Ercole Amante

13 - Atto IV: Scena 7: Una stila di speme (instrumental version)

14 - Atto I: Scena 3: E vuol dunque Ciprigna

15 - Atto I: Scena 3: ma in amor ciò ch'altri fura

Scipione affricano

16 - Atto III: Scena 3: A tuo dispetto Amor (instrumental version)

Mutio Scevola

17 - Atto I: Scena 7: Né fasto allor che ride / Né dolente allor che freme

Pompeo Magno

18 - Atto I: Scena 17: Come al mar corrono i fiumi

Eliogabalo

19 - Atto III: Scena 2: Giuliano al tuo ferro

20 - Atto III, Scena 15: Pur ti stringo, pur t'annodo

Mariana Flores

Anna Reinhold

Cappella Mediterranea

dir. Leonardo García Alarcón