Name: Alexander Scriabin - Poèmes, Mazurkas, Études, Sonatas .. The Piano Works by Joseph Villa (Ct.rc.) @classicalmusicreference
Uploaded: 2024-10-17T08:17:00-05:00
Duration: 8 min 17 s
Description: Alexander Scriabin - Poèmes, Mazurkas, Études, Sonatas .. The Piano Works by Joseph Villa (Ct.rc.)

Alexander Scriabin - Poèmes, Mazurkas, Études, Sonatas .. The Piano Works by Joseph Villa (Ct.rc.)

Classical Music/ /Reference Recording 2024-10-17 | Alexander Scriabin - Poèmes, Mazurkas, Études, Sonatas .. The Piano Works by Joseph Villa (Ct.rc.)

Puccini - Tosca REMASTERED (Leontyne Price - r.rc.: Herbert von Karajan, Wiener Philharmoniker 1962)

Classical Music/ /Reference Recording 2022-11-10 | Giacomo Puccini (1858-1924) Tosca by Leontyne Price / REMASTERED
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Giacomo Puccini (1858-1924) – Tosca – Opera in Tre Atti - Opera in Three Acts .
*Click to activate the English subtitles for the presentation* (00:00-03:15)
Act 1
*Click to activate the English subtitles for the presentation* (01:18-03:15)
« Ah! Finalmente! » (00:00)
« E Sempre Lava!.. » (02:03)
« Dammi i colori... Recondita armonia » (05:25)
« Voi! Cavaradossi! » (09:50)
« Mario..Mario..Mario » (10:48)
« E buona la mia Tosca » (23:23)
« Sommo Giubilo, Eccelenza! » (26:34)
« Un tal baccano in chiesa! » (28:15)
« Or Tutto è chiaro » (32:16)
« Ed io venivo a lui tutta fogliosa » (34:28)
« Tre Sbirri...Una Carrozza Presto.. Te Deum » (39:56)

Act 2
*Click to activate the English subtitles for the presentation* (45:04-47:08)
« Tosca è un buon falco » (44:46)
« Ha più forte sapore » (47:56)
« O Galantuomo, Come Andò La Caccia » (49:29)
« Ov'È Angelotti » (53:18)
« Sciarrone, Che Dice Il Cavalier ? » (57:06)
« Orsù, Tosca, parlate » (1:00:02)
« Foira. . . Amore » (1:03:39)
« Vittoria ! Vittoria ! (1:05:07)
« Quanto ? » (1:07:47)
« Vissi d’arte » (1:12:13)
« Chi È Là ? » (1:17:19)
« Io Tenni La Promessa » (1:19:06)

Act 3
*Click to activate the English subtitles for the presentation* (1:25:56-1:26:42)
« Lo de’ sospiri » (1:25:25)
« Mario Cavaradossi ? » (1:31:00)
« E lucevan le stelle » (1:35:38)
« Ah! Franchigia a Floria Tosca » (1:38:40)
« O dolci mani » (1:41:23)
« Come È Lunga L’attesa ! » (1:49:43)
« Presto! su, Mario! Andiamo! Andiamo!, Su! » (1:52:08)

Floria Tosca : Leontyne Price
Mario Cavaradossi : Giuseppe Di Stefano
Scarpia : Giuseppe Taddei
Cesare Angelotti : Carlo Cava
Spoletta : Piero De Palma
Sagrestano : Fernando Corena
Sciarrone : Leonardo Monreale
Carceriere : Alfredo Mariotti
Pastore : Herbert Weiss

Wiener Staatsopernchor
Wiener Philharmoniker
Herbert Von Karajan
Recorded in 1962
New mastering in 2022 by AB for CMRR
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COMMENTAIRE COMPLET : VOIR PREMIER COMMENTAIRE ÉPINGLÉ.
Karajan affirme une conception située aux antipodes de celle de De Sabata : tout y est abondamment voluptueux, dès les trois accords du début. L’interprétation est nerveuse, intense, la luxuriance sonore est fine et sensuelle. Leontyne Price recherche la sensualité, dans le même esprit que Karajan. Elle est avant tout une prima donna volcanique, personnage de mélodrame, et la voix répond du tac au tac aux délires coloristiques de l'orchestre : une Tosca rayonnante et puissante.

Durant la période troublée qui suit la Révolution française, un nouvel esprit, libertaire et républicain, se fait jour en Italie. Toutefois, Ferdinand IV de Naples et son épouse Maria Carolina ayant déclaré la guerre à la France, ce courant d'idées finit fatalement par être considéré comme hérétique. Les Français prennent Rome et installent une "République romaine" dont l'un des consuls est Angelotti; puis ils marchent vers le sud, prennent Naples et y installent une république alliée.

La reine Maria Carolina, qui s'est réfugiée en Sicile avec son mari, met sur pied une force de combat qui, aidée des Britanniques, des Russes et des Autrichiens, repousse les Français hors de Naples, marche sur Rome et reprend la ville, où la reine s'installe, laissant son mari en Sicile. Une police secrète est alors créée, qui est dirigée par le baron Vitellio Scarpia et tenue informée par des espions et des dénonciateurs. L'action se déroule en juin 1800 sur cet arrière-plan politique; à la chute de la république, Angelotti a été emprisonné pour trahison, mais lorsque le rideau se lève, il vient de s'échapper du château Saint-Ange..

SUITE DU COMMENTAIRE : VOIR PREMIER COMMENTAIRE ÉPINGLÉ.

New Remastered Edition - Puccini: Tosca by Maria Callas // Full Opera available on:
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Giacomo Puccini & Vincenzo Bellini PLAYLIST (reference recordings): youtube.com/playlist?list=PL3UZpQL9LIxNh-7OZfzx5gWWU5rbFpmcH

Gustav Holst - The Planets, Op. 36 / REMASTERED (Ct.rc.: Herbert von Karajan, Wiener Philharmoniker)

Classical Music/ /Reference Recording 2022-11-08 | Gustav Holst (1874-1934) The Planets, Op. 36 by Herbert von Karajan / Remastered
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00:00 I. Mars, the Bringer of War - The Planets, Op. 36 (Remastered 2022, Version 1961)
07:00 II. Venus, the Bringer of Peace - The Planets, Op. 36 (Remastered 2022, Version 1961)
15:19 III. Mercury, the Winged Messenger - The Planets, Op. 36 (Remastered 2022, Version 1961)
19:16 IV. Jupiter, the Bringer of Jollity - The Planets, Op. 36 (Remastered 2022, Version 1961)
26:51 V. Saturn, the Bringer of Old Age - The Planets, Op. 36 (Remastered 2022, Version 1961)
35:22 VI. Uranus, the Magician - The Planets, Op. 36 (Remastered 2022, Version 1961)
41:08 VII. Neptune, the Mystic - The Planets, Op. 36 (Remastered 2022, Version 1961)

Wiener Philharmoniker
Wiener Staatsopernchor
Conductor: Herbert von Karajan
Recorded in 1961
New mastering in 2022 by AB for CMRR
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Thank you :) patreon.com/cmrrConductor: Herbert von Karajan
Recorded in 1961
New mastering in 2022 by AB for CMRR
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THE PLANETS, OP.36 I. Mars (Allegro) opens with an ominous rhythmic calm, the armies gather and the frenzy builds. When the force of the music is unleashed on the brass, its violence and brutality are of a kind previously unknown in English music, a rite not of spring but of Armageddon. Some effects never lose their power of surprise: the evil fanfare of the euphonium, for example, and the great discord that ends up temporarily halting the assault. A slower section is haunted by the martial rhythm; the allegro returns with heightened, almost hysterical ferocity, ending with grating chords.

II. Venus (Adagio). A horn call is answered by flutes in that cool, high register that is a Holst trademark. "Rocking" chords for harps and strings establish a mood of distant calm. A key change to F sharp brings a melodic violin solo that is developed by the strings against woodwind chords. An exquisite oboe solo brings a human warmth to the scene. It is repeated by other woodwinds and strings before the rocking chords return and the movement ends with a pattern of exquisite sounds from celesta, horns, harps and winds.

III. Mercury (Vivace) is a scherzo, 'fleet of foot' and requiring a very deft and alert staccato played by strings and woodwind. The trio section suggests that this particular winged messenger carries a message from Scheherazade.

IV. Jupiter (Allegro giocoso) brings its gaiety in C major. This is the most popular movement in every sense of the word. Its jovial opening and the cooing dance tune of the horns suggest to many ears a typically English scene, but there is also, it seems to me, a flavor of Spanish caprice. The great central aria (andante maestoso) has an Elgarian solemnity, but it is noteworthy that in the coda, when it struggles in the bass to regain the ascendancy, it is overwhelmed by festive superficialities.

V. Saturn (Adagio) was the composer's favorite and, along with Mars, is the most original movement. One can almost feel the pain of Holst's neuritis in the first 26 bars, when the flutes and harps slowly intone two syncopated chords under which, in the double basses, a theme emerges with a shuddering menace. A majestic march for trombones with pizzicato accompaniment leads to an adagio for four flutes that begins a long crescendo, culminating in a clang of bells as the brass intones the main (bass) theme. The coda is mysteriously subdued, a mosaic of chimes and ripples.

*** COMPLETE PRESENTATION: LOOK THE FIRST PINNED COMMENT ***

Richard Strauss (1864-1949) Also sprach Zarathustra, Op. 30 by H.V. Karajan
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Brahms: 10 Intermezzi by Glenn Gould / REMASTERED (recording of the Century)

Classical Music/ /Reference Recording 2022-11-07 | Johannes Brahms (1833-1897) - 10 Intermezzi for Piano by Glenn Gould / Remastered
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Purcell - Dido and Aeneas: When i am Laid in Earth (reference recoding: Dame Janet Baker, A. Lewis)

Classical Music/ /Reference Recording 2022-11-05 | Henry Purcell (1659-1695) - Dido and Aeneas / Full Opera REMASTERED.
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Dido and Aeneas: Act 3 (excerpt)
00:00 But Death, alas! ... (Remastered 2022)
02:20 When I am laid in earth (Dido) (Remastered 2022)
06:26 With drooping wings ye Cupids come (Chorus) (Remastered 2022)

Full Opera available the main streaming platforms (Qobuz in 24/96 His-Res, Apple Music, Amazon Music, Deezer, Tidal, Spotify, Youtube Music..): youtube.com/watch?v=XnJzV_XcyGI&list=OLAK5uy_nEcbmyoeQH77dBjYloXXrN4iy_7nf0Ix4&index=1

Dido, Queen of Carthage: Dame Janet Baker
Aeneas, a Trojan Prince: Raimund Herincx
Belinda: Patricia Clark
Sorceress: Monica Sinclair
The St Anthony Singers
English Chamber Orchestra
Conductor: Anthony Lewis
Recorded in 1961
New mastering in 2022 by AB for CMRR
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Dame Janet Baker as Dido by Alan Blyth
The early part of Janet Baker's career was closely connected with both Purcell's opera and with Anthony Lewis. Some of her first operatic appearances back in the late 1950s were in Dido and Aeneas — but not in the title role, usually sung by sopranos, not mezzos. She had worked with Anthony Besch at Glyndebourne when she was in the Chorus. When he produced the work at Ingestre, then home of Lord and Lady Shrewsbury, in 1957, he gave her the role of Second Witch. By the time the staging reached the Bath Festival in 1959, she had advanced to the main mezzo role of the Sorceress. When the production reached Hampton Court later that year, The Times commented: "The vocal honours went to Miss Janet Baker as the Sorceress, an impressive and flexible voice finely handled".

In the meantime she had begun a long and fruitful association with Anthony Lewis, then at the barber Institute in Birmingham (he later became Principal of the Royal Academy of Music in London). She gained much attention and praise there in a series of notable productions of Handel operas. In 1961, Lewis approached Baker to sing Dido. She was at first surprised as she had always thought of it as a soprano part, but he thought it should have the character of a darker voice, and in any case she had the range, as the role goes no higher than G. In consequence she was chosen to sing the part on this recording, one which many think is unsurpassed, certainly as far as the casting of the title role is concerned. Soon after it was made she gave memorable performances of Dido with the English Opera Group in Britain and abroad, and she turned to Glyndebourne, now as leading lady, to sing the part to overwhelming effect, as I well recall, in 1966.

Dido was the first operatic role Janet Baker attempted on disc, which makes the intensity, the passion of her singing all the more astonishing and proves that she had already mastered the art of acting through the voice in the studio as well as on stage. Edward Greenfield wrote in The Guardian at the time of the set's first issue that "on this showing she can set her sights on almost any peak" prophetic words. He added: "Miss Baker's stylishness, range of tone and colour, depth of emotion implied with no untidy gusts all reveal a natural command that promises great things".

The noble Lament at the end, of course, crowns the performance. The way Baker grades her half-voice at the repeat of "When I am laid in earth", the absence of vibrato for the ache of "Remember me", the perfect movement from B flat to E on the word "create" are just indications of how refined and instinctive was the singer's art as early as 1961, when she was still in her twenties. So do the fury at "Your counsel all is urg'd in vain" and at "Away, away!" as she dismisses Aeneas in this final scene, and the manner in which she darkens her tone for the grief-laden words "But Death, alas! I cannot shun".

Earlier, "Ah! Belinda" is equally fine. Listen for the grace notes on the phrase "Peace and I" and the way Baker fully conveys the onomatopoeia of the single word "languish" in the same aria. Everywhere phrasing and words are re-thought with that vividness and care for meaning that has always distinguished her singing. Nor should Anthony Lewis's contribution to the singer's achievement be overlooked: Baker knew just how much she owed to him at that stage of her burgeoning career.

The American Vocalist - Spirituals and Folk Hymns 1850-1870 (Century's recording: Joel Cohen): youtu.be/Em9l_ojCoCU

Mozart - Violin Sonata in C Major K. 301 (No.18) (Centurys record.: Clara Haskil, Arthur Grumiaux)

Classical Music/ /Reference Recording 2022-11-03 | Wolfgang Amadeus Mozart (1756-1791) The Violin Sonatas by Haskil & Grumiaux / Remastered.
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Click to activate the English subtitles for the presentation (00:00-02:45)
00:00 Violin Sonata in C Major K. 301 - l. Allegro con spirito (Remastered 2021)
05:38 Violin Sonata in C Major K. 301 - II. Allegro (Remastered 2021)

Violin Sonata K. 304, K. 378, K. 376, K. 454, K. 526 also available. The remastered compilation of all the sonatas performed by Haskil/Grumiaux is available on youtube music (youtube.com/playlist?list=OLAK5uy_njlmw9y1qHz_D4ZEp6ZrEz5hJgzpDcBmU) or on the main platforms by clicking on the links above.

Violin: Arthur Grumiaux
Piano: Clara Haskil
Recorded in 1958, at Basel
New mastering in 2021 by AB for CMRR
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Most of Mozart's piano duets are sonatas for violin and piano, a genre that he gradually evolved to the point of establishing the standards of the modern sonata for violin and piano. He was the first to establish a true dialogue between the two instrumentalists. Moreover, he was one of the few composers to solve the delicate sound problems posed by the combination of a violin and a keyboard instrument. The Sonata for piano and violin n°18 is one of the sonatas begun in Mannheim, completed and published in Paris in 1778, dedicated to the Princess Palatine. This is the reason why the sonatas that make up Opus 1 are known as the "Palatine Sonatas". Playful and playful, the two instruments accompany each other in turn: each plays an equal role, which is new in Mozart's output.

The tradition of writing the sonata for piano and violin, to which Mozart himself sacrificed until then, consisted in having the violin accompany the keyboard part in unison, thirds or octaves. This type of piece was generally published under the title of "keyboard sonata with violin accompaniment" when it was not added "ad libitum" specifying that the presence of the violin was not essential and that the keyboard part could be sufficient on its own. To use the violin as a concertante instrument, to have it accompanied by the keyboard, or to share the discourse between the two instrumentalists and let them dialogue as equals, are all factors that constitute an unusual musical balance and arouse Mozart's enthusiasm.

It is not by chance that he uses the term "duetti" to refer to this distribution of roles, suddenly transforming the sonata for keyboard and violin into a true duo, opening up a whole new field of expression. He is so motivated that he interrupts the heavy and lucrative commission of quartets and concertos for flute from the Dutch amateur De Jean - the crossed-out autograph of two sonatas even shows that he had previously considered entrusting them to the flute. This is what he explains to his father in a letter: "For a change, I have composed from time to time something else, for example duets for piano and violin... At the moment, I am seriously working on the duets, in order to be able to give them to be engraved."

Beethoven - Complete Violin Sonatas / NEW MASTERING (Century’s rec.: Clara Haskil, Arthur Grumiaux): youtube.com/watch?v=HILbYu16eHg&t=6952s

Wagner - Tristan und Isolde: Prelude & Liebestod (Ct.rc.: Hans Knappertsbusch, Birgit Nilsson)

Classical Music/ /Reference Recording 2022-11-01 | Richard Wagner (1813-1883) - Orchestral Works by Hans Knappertsbusch / REMASTERED.
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00:00 Tristan und Isolde: Vorspiel
10:10 Tristan und Isolde: Isolde's Liebestod "Mild und leise, wie er lächelt"

Complete Remastered Edition Available on all the main streaming platforms (Qobuz in 24/96 His-Res, Spotify, Amazon Music, Deezer, Tidal, Youtube Music..)

Wiener Philharmoniker
Conductor: Hans Knappertsbusch
Recorded in 1960
New mastering in 2022 by AB for CMRR
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Tristan and Isolde — Prelude to Act One
In his novella Tristan (1903), Thomas Mann describes the introduction to Wagner's Tristan and Isolde, psychologically and musically the most ambitious and forward-looking of all his music dramas. 'The Longing motif, a solitary voice wandering in the night, softly ventured its hesitant question. A silent pause. And 10, an answer: the same plaintive, solitary sound, yet brighter, more tender. Silence once again. Then that wonderful, muted sforzando, a sort of blissful arousal of unfettered passion, introduced the Love motif. Rising, towering up to an ecstatic consummation, it sank back and resolved itself before the cellos bore the melody off with their deep, painful song of bliss (…) Two forces, two rapt beings strove towards one another in suffering and bliss, and embraced in an ecstatic and mad desire for the Eternal and the Absolute...

Tristan and Isolde — Isolde's Liebestod (Act Three)
The lovers' longing for death is fulfilled in Act Three: in an ecstatic rage Tristan has torn open his fatal wound and died in Isolde's arms. Isolde, captivated by her vision of the resurrected Tristan, becomes ever more distanced from her surroundings until her consciousness finally transcends the real world and she sinks into the 'vast wave of the world's breath', into the realm of Death and of 'supreme bliss'.

Hans Knappertsbusch (1888-1965) made all the recordings on this compilation during the last ten years of his life. His interpretations of Wagner are characterised by a majestic, reverent solemnity, and derive directly from the old school of the Bayreuth veteran Hans Richter, to whom the young Knappertsbusch was assistant conductor at the Bayreuth festivals between 1910 and 1912. The Vienna Philharmonic Knappertsbusch's orchestra on the present recordings, had worked with him since the 1930s and were familiar with his idiosyncratic style. He attached little importance to detailed rehearsals in which works were played through repeatedly, preferring instead to rely on the experience and musicality of the individual members of the orchestra, as well as on the inspiration of the moment.

Wagner - Parsifal (Century's recording: Hans Knappertsbusch 1951)
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Wagner - Siegfrieds Rhine journey & Siegfrieds Funeral March (Centurys rec.: Hans Knappertsbusch)

Classical Music/ /Reference Recording 2022-10-31 | Richard Wagner (1813-1883) - Orchestral Works by Hans Knappertsbusch / REMASTERED.
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00:00 Götterdämmerung: Morgendämmerung und Siegfrieds Rheinfahrt (Vorspiel)
12:32 Götterdämmerung: Siegfrieds Trauermarsch

Complete Remastered Edition Available on all the main streaming platforms (Qobuz in 24/96 His-Res, Spotify, Amazon Music, Deezer, Tidal, Youtube Music..)

Wiener Philharmoniker
Conductor: Hans Knappertsbusch
Recorded in 1959
New mastering in 2022 by AB for CMRR
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Götterdämmerung — Dawn and Siegfried's Rhine journey (Prologue)
A slow orchestral crescendo depicts dawn and sunrise over the Valkyries' rock. Siegfried bids farewell to Brünnhilde in order to hurry on 'to new deeds'. She hears his cheerful horn call from afar. The orchestra takes up the call and then follows the hero as he journeys up the Rhine against the current, plying the oars with all his might. The chorus of horns sounds the majestic Rhine motif before the full orchestra plays the song of the Rhine-maidens. But the unbridled merriment of the latter soon gives way to a lament for the stolen Rhine gold. The mood becomes sombre and the orchestra hints at the fateful events to come.

Götterdämmerung — Siegfried's funeral procession (Act Three)
During the transitional music before the last scene of the Ring cycle, the body of the murdered Siegfried is carried to the Gibichung hall. The orchestra broods mournfully before the Death motif is thundered out with remorseless solemnity by the timpani and brass. A melancholy theme played by the cor anglais recalls Siegmund and Sieglinde, the parents of Siegfried, then a trumpet sounds the Sword motif, but without its usual triumphant exuberance: hesitant at first, it seems to grow out of itself in a massive crescendo before being cut short by the merciless blows of the Death motif (a similar development occurs with the Siegfried theme, which returns only to die away in resignation). The complex structure of leitmotifs in this great orchestral movement gives the funeral procession a supra-personal dimension: with the death of Siegfried, the 'free hero' longed for by the guilt-embroiled gods is lost, the Old World's hope of redemption buried. The Brünnhilde motif returns forlornly before the music collapses into blackest darkness.

Hans Knappertsbusch (1888-1965) made all the recordings on this compilation during the last ten years of his life. His interpretations of Wagner are characterised by a majestic, reverent solemnity, and derive directly from the old school of the Bayreuth veteran Hans Richter, to whom the young Knappertsbusch was assistant conductor at the Bayreuth festivals between 1910 and 1912. The Vienna Philharmonic Knappertsbusch's orchestra on the present recordings, had worked with him since the 1930s and were familiar with his idiosyncratic style. He attached little importance to detailed rehearsals in which works were played through repeatedly, preferring instead to rely on the experience and musicality of the individual members of the orchestra, as well as on the inspiration of the moment.

Wagner - Parsifal (Century's recording: Hans Knappertsbusch 1951)
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Mendelssohn - 17 Songs Without Words / REMASTERED (reference recording: Walter Gieseking)

Classical Music/ /Reference Recording 2022-10-27 | Felix Mendelssohn-Bartholdy (1809-1847) 17 Songs without Words by Walter Gieseking
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Book 1, Op. 19b (1829-1830)
00:00 I. Andante con moto, in E Major, Op. 19 No. 1
04:49 VI. Andante sostenuto, in G minor, Op. 19 No. 6 “Venetian Gondola Song”
Book 2, Op. 30 (1833-1834)
07:24 VI. Allegretto, in F-Sharp minor, Op. 30 No. 6 “Venetian Gondola Song”
Book 3, Op. 38 (1836-1837)
11:04 IV. Andante, in A Major, Op. 38 No. 4
13:42 VI. Andante con moto, in A-Flat Major, Op. 38 No. 6 “Duetto”
Book 4, Op. 53 (1839-1841)
18:36 II. Allegro non troppo, in E-Flat Major, Op. 53 No. 2
21:22 III. Presto agitato, in G minor, Op. 53 No. 3
24:17 IV. Adagio, in F Major, Op. 53 No. 4
Book 5, Op. 62 (1842-1844)
26:50 I. Andante espressivo, in G Major, Op. 62 No. 1
29:09 V. Andante, in A minor, Op. 62 No. 5 “Venetian Gondola Song”
32:04 VI. Andante grazioso, in A Major, Op. 62 No. 6 “Frühlingslied”
Book 6, Op. 67 (1843-1845)
34:53 III. Andante tranquillo, in B-Flat Major, Op. 67 No. 3
37:38 IV. Presto, in C Major, Op. 67 No. 4 “Spinnerlied: The Bee’s Wedding”
Book 7, Op. 85 (1834-1845)
39:30 IV. Andante sostenuto, in D Major, Op. 85 No. 4
42:17 VI. Allegretto con moto, in B-Flat Major, Op. 85 No. 6
Book 8, Op. 102 (1842-1845)
45:40 III. Adagio, in D Major, Op. 102 No. 2
47:07 V. Un poco agitato, in G minor, Op. 102 No. 4

Piano: Walter Gieseking
Recorded in 1956, at London
New mastering in 2022 by AB for CMRR
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A-t-il jamais existé plus parfait autodidacte que Walter Gieseking ? Il naquit à Lyon le 5 novembre 1895. (...) Il découvre le sol allemand à partir de ses treize ans, à Hanovre, il fréquentera un conservatoire : ses premiers et derniers essais formalistes. Il professera qu'une fois les bases indispensables acquises, elles sont gravés à jamais dans sa mémoire. On n'a pas à y revenir. Plus jamais il ne fera gammes ni arpèges, ni ne travaillera ses doigts. Il tenait à faire passer la musique directement des yeux, qui lisent, comprennent, assimilent et dominent les doigts, qui obéissent et semblent aller tout seuls, libres. Un telle facilité pour Gieseking s’explique par sa concentration, qui va tellement de soi qu'en vérité il ne doit même plus y avoir besoin de la provoquer. Tout simplement : on ne peut rien faire à moins d'être tout entier à ce qu'on fait...

La mémoire de Gieseking - une mémoire d'abord visuelle - avait quelque chose de monstrueux : elle lui permettait d'apprendre d'un trait l'Ut majeur K.467 de Mozart, et même le Concerto de Pfitzner. Mais au-delà de telles prouesses, le vrai miracle Gieseking était ce qu'on ne peut appeler autrement que son imagination du son. Il n'avait pas besoin d'autre chose que de ses yeux. Lisant, il entendait le son dans son relief physique, sa plasticité, son modelé, son coloris. Il avait discipliné, éduqué sa prodigieuse oreille, qui accompagnait et interprétait la moindre de ses sensations, et chacune de ses réflexions. Les interminables voyages en train devenait son laboratoire, son pensoir. Il en sortait en sachant sa musique d'œil, et d'oreille !

Il passera des heures à jouer au piano tout Wagner ; il mettra sa coquetterie de compositeur à transcrire au piano ses Lieder de Strauss préférés ; écoutant à la radio la retransmission de Daphné lors de sa création mondiale, il téléphonera en pleine nuit à Karl Böhm qui l'avait dirigée. Une audition lui avait suffi pour en savoir par cœur la scène finale, qu'il joua à Böhm au téléphone, lui demandant des éclaircissements quant à l'orchestration, dont il n'avait pas entièrement percé l'alchimie. Tels étaient ces musiciens absolus, qui ne vécurent que pour et dans la musique, firent oublier dans la transparence de Mozart (toujours rigoureusement sans pédale) et la luminescence de leur Debussy qu'ils ont su être fracassants dans Rachmaninov et Liszt, et dont les piécettes recueillies chez Mendelssohn et Grieg pourraient nous faire croire, au seul vu du programme, par une délicieuse dissimulation (ou coquetterie) d'artiste qu'ils n'ont que de jolis doigts pour un salon, et ne dominent du souffle que la petite forme ! André Tubeuf (extrait)

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Felix Mendelssohn PLAYLIST (reference recordings): youtube.com/playlist?list=PL3UZpQL9LIxNEOECwK4VjfNazYgWVbApx

Puccini: Tosca by Maria Callas Vissi dArte / REMASTERED (Century’s record.: Victor de Sabata)

Classical Music/ /Reference Recording 2022-10-25 | New Remastered Edition - Puccini: Tosca by Maria Callas // Full Opera available on:
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Tchaikovsky - The Nutcracker Op. 71 / REMASTERED (Ct.rc.: Antal Doráti, London Symphony Orchestra)

Classical Music/ /Reference Recording 2022-10-23 | Pyotr Ilyich Tchaikovsky (1840-1893) - The Nutcracker, Op. 71 / REMASTERED
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The Nutcracker, Op. 71
Act 1, Tableau 1
00:00 Miniature Overture
03:00 Decorating and Lighting the Christmas Tree
06:49 March
09:03 Dance Scene: Galop and Dance of the Parents
11:18 Scene: Presents for the Children
16:24 Scene and The Grandfather Dance
22:07 Scene: The Guests Depart; The Children Go to Bed; The Magic Spell Begins
28:02 The Nutcracker Battles the Army of the Mouse King; He Wins and Is Transformed into Prince Charming

Tableau 2
30:56 Journey Through the Snow
34:32 Waltz of the Snowflakes

Act 2
40:59 Scene: Arrival in Fairyland
45:05 Scene: Festival in Honor of the Children and Prince Charming
49:40 a: Chocolate-Spanish Dance (Character Dances - Divertissement)
50:47 b: Coffee-Arabian Dance (Character Dances - Divertissement)
53:31 c: Tea-Chinese Dance (Character Dances - Divertissement)
54:29 d: Russian Dance-Trepak (Character Dances - Divertissement)
55:32 e: Dance of the Toy Flutes (Character Dances - Divertissement)
57:45 f: Dance of the Clowns (Character Dances - Divertissement)
1:00:39 Waltz of the Flowers

1:06:43 Dances of the Sugar Plum Fairy and Prince Charming: Pas de Deux
1:10:53 a: Dance of Prince Charming
1:11:31 b: Dance of the Sugar Plum Fairy
1:13:36 c: Coda
1:14:55 Waltz Finale
1:18:14 Apotheosis

London Symphony Orchestra & Chorus
Antal Doráti
Recorded in 1962
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Avec Casse-Noiseffe, Tchaïkovski écrivit une musique présentant deux niveaux d'interprétation: l'un, au premier degré, raconte une intrigue qui peut être figurée par la danse, et l'autre, caché, suggère une histoire que seuls certains éléments musicaux permettent de découvrir. C'est avec esprit et humour que Tchaïkovski oppose, dans le Premier Tableau, le monde des adultes à celui des enfants: un Galop fringant compensé par une Polonaise majestueuse, et, à travers l'indication tempo di grand-père, le compositeur se moque de la bourgeoisie qui aime ses aises. L'utilisation de tambours et de trompettes d'enfants (en tant qu'orchestre de scène) confère également des accents d'ironique gaieté à l'univers de l'enfance.

Fidèle à l'esprit d'E,T.A. Hoffmann, Tchaïkovski parsème le monde en apparence ordonné et intact des adultes d'éléments musicaux fantastiques. Aussi la pendule, qui sonne le début et la fin de la fête, marque-t-elle aussi l'avènement d'un monde étrange, nocturne. Et, à l'image de la chouette qui a les traits de Drosselmeyer, sa musique finit par donner le frisson car elle possède le couleur instrumentale caractéristique de Drosselmeyer qui allie les sons graves des trombones, de la clarinette base et du hautbois.

La croissance surprenante de l'arbre de Noël, évoquée avec un art magnifique par un crescendo de figures chromatiques toujours plus amples, n'est pas traitée comme un effet gratuit par Tchaïkovski, mais au contraire conçue comme un événement lyrique et symphonique. De cette façon, l'incident apparemment mineur acquiert une signification symbolique, suggérant la manière dont l'enfant grandit et dont les perspectives existantes sont renversée.

Ce n'est pas par hasard que, peu après, Klara traverse, en compagnie de son casse-noisette devenu prince, une forêt de sapins sous la neige, C'est là que naissent en Clara des sentiments jusqu'alors inconnus et qu'elle commence à perdre l'innocence de l'enfance. La correspondance entre les deux numéros sans doute les plus populaires de cette musique de ballet, la Valse des flocons de neige et la Valse des fleurs souligne cette métamorphose: toutes les deux, elles symbolisent l'éveil des sentiments, suggéré par un point d'orgue et les harmonies chromatiques dans la première partie de la Valse des flocons de neige.

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Pyotr Ilyich Tchaikovsky PLAYLIST (reference recordings): youtube.com/playlist?list=PL3UZpQL9LIxMf4wYhD_ikxVVtRtYf-Azi

Grieg - 37 Lyric Pieces / REMASTERED (Centurys recording: Walter Gieseking)

Classical Music/ /Reference Recording 2022-10-20 | Edvard Grieg (1843-1907) 37 Lyric Pieces by Walter Gieseking / Remastered.
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Year 1956
00:00 Lyric Piece, Book 1, Op. 12 - No. 2 « Waltz »
01:44 Lyric Piece, Book 1, Op. 12 - No. 7 « Album-leaf »
02:59 Lyric Piece, Book 2, Op. 38 - No. 1 « Cradle song »
05:36 Lyric Piece, Book 2, Op. 38 - No. 3 « Melody »

07:22 Lyric Piece, Book 3, Op. 43 - No. 1 « Butterfly »
09:07 Lyric Piece, Book 3, Op. 43 - No. 2 « Lonely wanderer »
11:07 Lyric Piece, Book 3, Op. 43 - No. 3 « In my native land »
13:29 Lyric Piece, Book 3, Op. 43 - No. 4 « Little bird »
15:13 Lyric Piece, Book 3, Op. 43 - No. 5 « Erotic »
18:06 Lyric Piece, Book 3, Op. 43 - No. 6 « To the spring »

20:42 Lyric Piece, Book 4, Op. 47 - No. 2 « Album-leaf »
23:46 Lyric Piece, Book 4, Op. 47 - No. 3 « Melody »
27:24 Lyric Piece, Book 4, Op. 47 - No. 4 « Norwegian dance (Halling) »
28:45 Lyric Piece, Book 5, Op. 54 - No. 1 « Shepherd boy »
33:11 Lyric Piece, Book 5, Op. 54 - No. 3 « March of the dwarfs »
36:26 Lyric Piece, Book 5, Op. 54 - No. 4 « Notturno »
40:15 Lyric Piece, Book 5, Op. 54 - No. 6 « Bellringing »

43:30 Lyric Piece, Book 6, Op. 57 - No. 6 « Homesickness »
47:11 Lyric Piece, Book 7, Op. 62 - No. 3 « French serenade »
48:49 Lyric Piece, Book 7, Op. 62 - No. 5 « Phantom »
52:03 Lyric Piece, Book 7, Op. 62 - No. 6 « Homeward »
54:36 Lyric Piece, Book 8, Op. 65 - No. 1 « From days of youth »
59:36 Lyric Piece, Book 8, Op. 65 - No. 2 « Peasant’s song »
1:01:30 Lyric Piece, Book 8, Op. 65 - No. 6 « Wedding day at Troldhaugen »

1:07:44 Lyric Piece, Book 9, Op. 68 - No. 2 « Gradmother’s minuet »
1:09:50 Lyric Piece, Book 9, Op. 68 - No. 3 « At your feet »
1:12:33 Lyric Piece, Book 9, Op. 68 - No. 5 « At the cradle »
1:15:27 Lyric Piece, Book 10, Op. 71 - No. 2 « Summer evening »
1:17:43 Lyric Piece, Book 10, Op. 71 - No. 3 « Puck »
1:19:22 Lyric Piece, Book 10, Op. 71 - No. 4 « Peace of the woods »
1:24:09 Lyric Piece, Book 10, Op. 71 - No. 7 « Remembrances »

Year 1948
1:25:55 Lyric Piece, Book 3, Op. 43 - No. 1 « Butterfly »
1:27:23 Lyric Piece, Book 3, Op. 43 - No. 2 « Lonely wanderer »
1:29:10 Lyric Piece, Book 3, Op. 43 - No. 4 « Little bird »
1:30:49 Lyric Piece, Book 3, Op. 43 - No. 6 « To the spring »
1:33:13 Picture from life in the country, Op. 19 - No. 2 « The bridal procession passes »
1:35:57 Lyric Piece, Book 8, Op. 65 - No. 6 « Weeding day at Troldhaugen »

Piano: Walter Gieseking
Recorded in 1948 and 1956, at London
New mastering in 2022 by AB for CMRR
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Gieseking recorded the Lyric Pieces in 1956, shortly before his death, having recorded five of them eight years previously, in 1948. The differences are marginal but illuminating, yet in both versions you will hear playing where a truly transcendental pianism is at the service of a total affinity with Grieg's elusive idiom. In the Waltz (Op.12 No.2) Gieseking's delectable lightness is achieved with the most audaciously spare pedaling (a lesson for all less aurally aware pianists). In Grandmother's minuet (Op.68 No.2) he gives us a spry and elegantly tripping old lady, but in Puck (Op.71 No.3) and March of the dwarfs (Op.54 No.3) we are made aware of sinister and supernatural as well as playful possibilities. A unique artist, Gieseking's sublime indifference to difficulty allowed him to recreate with supersensitive antennae the very heart of the matter...

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Grieg: Piano Concerto in A minor, Op. 16 by Emil Gilels
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Biber - The Rosary Sonatas / Passacaglia (Centurys recording: Hélène Schmitt)

Classical Music/ /Reference Recording 2022-10-17 | Heinrich Ignaz Franz Biber (1644-1704) Die Rosenkranzsonaten / Les Sonates du Rosaire
The five joyful mysteries - Die fünf freudenhaften Mysterien - Les cinq Mystères Joyeux
Click to activate the English subtitles for the presentation (00:00-09:00)
Sonata I: The Annunciation - Die Verkündigung - L'Annonciation
00:00 Praeludium
02:58 Variatio, Aria allegro
04:36 Adagio
05:41 [Variatio]
06:29 Finale

Sonata Il: The Visitation - Mariä Besuch bei Elisabeth - La Visitation
07:51 Sonata
09:00 Presto
10:00 Allemande
13:03 Presto

Sonata Ill: The Nativity - Christi Geburt - La Nativité
14:04 Sonata - Presto - Adagio
15:49 Courente
17:30 Double
19:09 Adagio

Sonata IV: The Presentation of Jesus at the Temple -
Christi Darstellung im Tempel - La Présentation de Jésus au Temple
21:25 Ciacona

Sonata V: The Finding of Jesus in the Temple -
Der zwölfjährige Jesus im Tempel - Jésus retrouvé au Temple
30:10 Praeludium - Presto
31:22 Allamande
33:09 Guigue
34:22 Sarabande
36:59 Double

Sonata VI: The Agony in the Garden of Gethsemane
Christi Leiden am Ölberg - L'Agonie au Jardin des Oliviers
39:41 Lamento - Adagio - Presto - Adagio
43:27 [Sarabande]
45:02 [Recitativo] - Adagio
46:07 Adagio
46:50 [Marche]

Sonata VII: The Scourging of Jesus - Die Geißelung - La Flagellation
47:28 Allemanda
49:53 Variatio
52:00 Sarabande
53:35 Variatio
54:56 [Variatio 2]
56:30 [Variatio 3]

Sonata VIII: The Crowning of Jesus with Thorns
Die Dornenkrönung - Le Couronnement d'épines
58:11 Sonata Adagio - Presto
1:01:06 Guigue
1:02:46 Double Presto
1:04:07 Double 2

Sonata IX: Carrying of the suplice - Das Tragen des Supliciums - Le Portement du Suplice
1:05:50 Sonata
1:08:39 Courente
1:10:00 Double
1:11:16 [Double 2]
1:12:39 Finale

Sonata X: The Crucifixion - Die Kreuzigung - La Crucifixion (Crux Simplex)
1:14:36 Praeludium
1:15:55 Aria
1:17:16 Variatio
1:18:34 [Variatio 2]
1:19:47 Adagio
1:22:09 [Variatio 4]
1:23:31 [Variatio 5]

Sonata XI: The Ressurection - Die Auferstehung - La Résurrection
1:24:52 Sonata
1:28:05 Surrexit Christus hodie
1:33:00 Adagio

Sonata XII: The Ascension - Christi Himmelfahrt - L'Ascension
1:34:28 Intrada
1:35:12 Aria Tubicinum
1:36:45 Allemanda
1:39:17 Courante
1:41:00 Double

Sonata XIII: The Descent of the Holy Ghost at Pentecost
Die Ausgießung des Heiligen Geistes - L’effusion de l’esprit saint à La Pentecôte
1:42:52 Sonata
1:46:29 Gavott
1:48:07 Gigue
1:59:56 Sarabanda

Sonata XIV: The Rise of Mary - Der Aufstieg Marias - L'Élévation de Marie (Resurrection)
1:51:49 [Praeludium] - Grave - Adagio
1:54:35 Aria - Aria
2:00:06 Gigue

Sonata XV: The Crowning of Mary
Die Krönung Marias - Le Couronnement de Marie
2:02:09 Sonata
2:03:52 Aria
2:05:30 [Variatio 1]
2:06:54 [Variatio 1]
2:08:22 [Variatio 3]
2:09:52 Canzon
2:11:55 Sarabanda
2:13:18 [Variatio]

2:14:45 Passacaglia

Hélène Schmitt, Violin
Violin by Camillo Camilli from the early eighteenth century
Anonymous violin from South Tyrol school, early eighteenth century

Frangois Guerrier, Claviorgan
Matthias Griewisch and Friedrich Lieb, 2001

Massimo Moscardo Archlute, theorbo
Archlute by Giuseppe Tumiati, after Magnus Tieffenbrucker (1593)
Theorbo by Giuseppe Tumiati, after Matteo Sellas (1635)

Francisco Mañalich, Viola da Gamba
Viola da Gamba (6 strings) by Marcelo Ardizzone (2014), after John Pitts (1679)

Jan Krigovsky, Violone
Anonymous violone in G, 17th. century, school of Prague

Recorded in 2014, at Gut Holthausen, Büren (Ostwestfalen) / AEOLUS
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Jouer les sonates du Rosaire est une performance, un acte d'humilité et de joie extraordinaires. L'interprète délivre en jouant des messages et des secrets. Il se délivre aussi de lui-même en traversant les difficultés. Ainsi peut-être, en écoutant ces pièces, nos âmes d'aujourd'hui s'ouvrent à celles de nos prédécesseurs, pénétrés comme nous par les grands mystères de la vie, cherchant leur voie dans un ciel rempli de palpitations, eux, les hommes du XVIIe siècle. Biber a conféré à chaque sonate une singularité sonore à travers un accord particulier, mais aussi révéler, véritable et exigeant défi, toutes les possibilités techniques, avec le plus grand nombre de scordatures, et cela dans la plus belle musique qui soit. (Commentaire complet: voir commentaire épinglé)

Click to activate the English subtitles for the presentation (00:00-09:00)

Baroque Composers (XVII-XVIII Centuries) PLAYLIST: youtube.com/playlist?list=PL3UZpQL9LIxMlLk5PrRXJs-Mv9_GV2eZi

Verdi - Otello Opera / REMASTERED (Jon Vickers, Tito Gobbi, L.Rysanek - Ct.rc.: Tullio Serafin)

Classical Music/ /Reference Recording 2022-10-11 | Giuseppe Verdi (1813-1901) OTTELO OPERA / REMASTERED
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OTTELO: Lyric Drama in Four Acts based on Shakespeare’s tragedy
Click to activate the English subtitles for the presentation (00:00-05:25)
Libretto by Arrigo Boito
Act 1
00:00 Una vela!
04:12 Esultate!
09:19 Fuoco di gioia!
12:11 Roderigo, beviam!
13:36 Inaffia l'ugola!
17:44 Capitano, v'attende
19:14 Olà! che avvien?
23:32 Già nelle notte (Love Duet)
25:38 Quando narravi (Love Duet)
29:07 Venga la morte! (Love Duet)

Act 2
33:51 Non ti cruciar
36:37 Credo in un Dio crudel (Iago's Credo)
41:52 Eccola
43:14 Ciò m'accora
47:46 Dove guardi splendono
52:46 D'un uom che geme
58:24 Desdemona rea!
59:57 Ora e per sempre addio
1:03:48 Era la notte
1:08:13 Sì, pel ciel

Act 3
1:11:11 Introduction
1:12:39 La vedetta del porto
1:14:00 Dio ti giocondi, o sposo
1:24:19 Dio! mi potevi scagliar
1:29:38 Vieni, l'aula è deserta
1:33:26 Questa è una ragna
1:35:15 Come la ucciderò?
1:36:35 Viva il Leon di San Marco!
1:42:35 A terra!...sì...nel livido fango

1:52:23 Act 4
Era più calmo?
Mia madre aveva una povera ancella (Willow Song)
Ave Maria
Chi è là?
Calma come la tomba
Nium mi tema

OTELLO, a Moorish general in the service of the Venetian Republic and Governor of Cyprus: JON VICKERS, tenor
DESDEMONA, a Venetian lady, his bride: LEONIE RYSANEK, soprano
IAGO, Otello's ensign: TITO GOBBI, baritone
CASSIO, Otello's captain: FLORINDO ANDREOLLI, tenor
RODERIGO, a Venetian gentleman: MARIO CARLIN, tenor
LODOVICO, Ambassador of the Venetian Republic: FERRUCCIO MAZZOLI, bass
MONTANO, former Governor of Cyprus: FRANCO CALABRESE, bass
A HERALD: ROBERT KERNS, baritone
EMILIA, lago's wife and lady-in-waiting to Desdemona: MIRIAM PIRAZZINI, mezzo-soprano

ROME OPERA ORCHESTRA and CHORUS
GIUSEPPE CONCA, chorus master
TULLIO SERAFIN, conductor
Recorded in 1960, at the Rome Opera House
New mastering in 2022 by AB for CMRR
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Otello, la passion jusqu'à la folie; lago, la trahison jusqu'au plaisir ; Desdémone, l'innocence jusqu'au sacrifice. Pour donner leur dimension à ces personnages, Verdi n'a pas hésité à aller encore plus loin qu'il ne l'avait jamais tenté dans le paroxysme vocal : si Desdémone exige une grande voix lyrique qui n'est pas exceptionnelle dans le registre verdien, lago demande un baryton de première force, ne serait-ce que pour projeter toute la violence de son terrifiant Credo du deuxième acte; et surtout Otello dépasse les capacités de l'habituel ténor lirico-spinto verdien et s'approche plus en fait de la carrure du heldentenor wagnérien. C'est que Verdi donne avec Otello un drame musical secoué de fureur et de plaintes et constamment emporté par une inspiration mélodique qui s'imprime sur le tissu même du drame. Mais un tel chef-d'œuvre est terriblement exigeant et, sur les quelques dizaines de versions enregistrées d'Otello, bien peu lui donnent toute sa dimension vocale hors norme, dans un mouvement, dans une continuité orchestrale qui exprime aussi sa force tellurique, de la tempête initiale à la terrifiante scène de furie d'Otello à la fin du troisième acte.

En fait, depuis plus de soixante ans, l'enregistrement signé par Tullio Serafin demeure inégalé du fait du fabuleux trio vocal réuni, avec d'abord l'Otello si émouvant de Jon Vickers. Le timbre, comme blessé de l'intérieur, du grand ténor canadien, son engagement directement et affectivement physique dans ce rôle, ce chant calciné par l'inquiétude, la douleur, la folie qui gagne, nul ne le retrouvera plus. Quant au lyrisme rayonnant de Leonie Rysanek, la beauté de ses aigus, son timbre charnel qui fait ici merveille, à qui pourrait-on les comparer ? Tito Gobbi enfin est le plus terrible lago de toute la discographie, non seulement du fait de cette voix noire, qu'il sait tramer d'une sorte d'amertume cauteleuse terrifiante, mais par la maîtrise absolue d'un chant à travers lequel on le voit, on observe, comme avec un second regard, ses sinistres manigances. Un trio vocal de ce niveau n'est, va être difficile à retrouver: profitons de celui-ci, il est grand.

Giuseppe Verdi (1813-1901) Messa Da Requiem by Fritz Reiner / REMASTERED
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Bach - Cantata BWV 170 Vergnügte Ruh, Beliebte Seelenlust (Ct.rc.: Aafje Heynis / Remastered)

Classical Music/ /Reference Recording 2022-10-06 | Johann Sebastian Bach (1685-1750) Bach: Cantatas BWV 170 & 169, Sacred Arias, Sacred Lieder.
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Cantata BWV 170 "Vergnügte Ruh, Beliebte Seelenlust"
00:00 I. Aria: Vergnügte Ruh
- II. Recitatief: Die Welt, das Sündenhaus
07:13 III. Aria: Wie jammern mich doch
- IV. Recitatief: Wer sollte demnach
12:45 V. Aria: Mir ekelt mehr zu leben

Complete Remastered Edition Available on all the main streaming platforms
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Contralto: Aafje Heynis
Netherlands Chamber Orchestra
Conductor: Szymon Goldberg
Recorded in 1960
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This short cantata was written between July 1726 and February 1727. The true happiness and peace of soul to which the Christian aspires can only be fully found in the paradise to come. For in this world dominated by the devil, the spirit of hatred and vengeance of men who have left the ways of the Lord abound. The present world is hateful to the pure of heart, so we might as well get it over with and pray to God to take back our souls. However, following the example of Christ, Christians strive to love their neighbors and shun sin in order to gain the eternal bliss promised by God.

A cantata for a single singer, solo viola, and organ obbligato, it is also one of a group of works with a concertante organ that Bach might have intended for his eldest son Wilhelm Friedemann, then fifteen and a half years old. In the introduction, the oboe d'amore, in unison with the violin I, unfurls a gentle garland supported by the violins and violas. The regular swaying of the ternary meter (at 12/8) gives this delicate pastoral a feeling of deep peace, of blissful happiness. At the center of the cantata, the aria is its expressive heart, spiritually and musically. Here, the organ is limited to two manual parts in the soprano register, with no pedal bass. And the string instruments, violins and violas, play in unison, in the absence of any basso continuo.

Of an extreme delicacy, almost spider-like (which has the lightness of a spider's web), the writing is thus that of an instrumental trio, but of a trio entirely situated in the middle and high registers, where the lowest of the parts is animated by the punctuations of a distressed lamentation. The writing becomes fuller in the quartet with the intervention of the solo voice, of an intense expressiveness. Everything incites from the start to intimacy and confidence. But this climate is broken with the figures of triple eighth notes associated with the expression of revenge and hatred, figures exchanged with the right and left hands of the organ. Other figuralisms underline the affliction of the faithful on the word "frech" (brazenly), always reinforced by diminished intervals. In the same way, similar groups of sixteenth notes, concluded by an interminable trill, translate the rejoicing and laughter of the enemies, as if to ridicule the impious position of the Pharisees. To finish, the introductory ritornello is repeated.

In the final aria, it is specified that the organ part requires two manuals. This is not a nostalgia for death, but a resolute and joyful farewell to life, which is expressed by the key of D major, the numerous notes repeated with insistence, and the decided pace of this aria, which is symmetrical to the opening aria of the cantata. In "da capo" with a ritornello, this one nevertheless begins with the tension of a tritone interval, the "diabolus in musica", which is resolved at the end of the middle section by the long initial of the word ruhig (rest).

COMLETE PRESENTATION: LOOK THE FIRST PINNED COMMENT.

Bach - Brandenburg Concertos BWV 1046-1051 by Szymon Goldberg
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Gershwin - An American in Paris / REMASTERED (rf.rc.: Leonard Bernstein, New York Philharmonic)

Classical Music/ /Reference Recording 2022-10-04 | George Gershwin (1898-1937) Rhapsody in Blue & An American in Paris by Leonard Bernstein.
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00:00 An American in Paris (Remastered 2022)

Rhapsody in Blue (Orch.: Ferde Grofé) (Remastered 2022) youtube.com/watch?v=yz9cn9V_Sz4&list=OLAK5uy_mCmtXfnvw3HjtaMgXCa3aVhzb3pKr6m6I&index=1

Piano & Conductor: Leonard Bernstein
Columbia Symphony Orchestra
Recorded in 1958, at New York City
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Gershwin's father Morris once said of An American in Paris: "It's very important music — it takes 20 minutes to play" This "important music" was largely written in Paris and Vienna during Gershwin's extended tour of Europe in 1928 and was also orchestrated by him. He saw this composition as a rhapsodic ballet and considered it his most modern music to date; in it Gershwin was not trying musically to depict any particular scenes but only wished to reflect general impressions. Nevertheless he dropped a few hints as to a slight plot (which the music critic Deems Taylor expanded into a detailed description of a stay in Paris in the program booklet for the first performance): An American is strolling through the city (the introductory Allegretto grazioso is the "promenade theme" which accompanies him from sight to sight). He hurls himself into the traffic chaos of the big city (four motor horns — at the first performance the genuine article from France! — provide the necessary local color): he hears a popular old favorite (« La Sorella » with forte trombones) in an "establishment," abandons himself to nostalgic thoughts of home in a café and "has the blues" (a muted trumpet playing an appropriate tune Andante ma con ritmo deciso), is cheered UP by a Charleston (Allegro) and once again finds pleasure in the hustle and bustle of Parisian life.

An American in Paris was given its first performance in December 13, 1928 by the New York Philharmonic under Walter Damrosch at Carnegie Hall. It was another triumph for Gershwin in spite of mixed reviews and is regarded today, along with the Rhapsody in Blue, as a milestone in the development of an independent American concert repertoire.

This recording also represents a critical juncture in the "geography of the New York Philharmonic. Since the late nineteenth century it had been performing principally in Carnegie Hall/ but the players often traveled to other venues for recordings. One of the most impressive was the St. George Hotel in Brooklyn Heights, where the Gershwin pieces on this disc were committed to tape. It was the largest hotel in New York City: by the 1 930s it had grown to comprise 2,632 rooms, a rooftop dance-parlor with sweeping Manhattan views, the "world's largest" saltwater swimming pool, and a grand ballroom that was well suited to symphonic-scale recording..

Gershwin - Rhapsody in Blue / REMASTERED (rf.rc.: Leonard Bernstein, Columbia Symphony Orchestra)

Classical Music/ /Reference Recording 2022-10-03 | George Gershwin (1898-1937) Rhapsody in Blue & An American in Paris by Leonard Bernstein.
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00:00 Rhapsody in Blue (Orch.: Ferde Grofé) Remastered 2022

An American in Paris (Remastered 2022) youtube.com/watch?v=iNCZvGEPOtE&list=OLAK5uy_mCmtXfnvw3HjtaMgXCa3aVhzb3pKr6m6I&index=2

Piano & Conductor: Leonard Bernstein
Columbia Symphony Orchestra
Recorded in 1959, at New York City
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GEORGE GERSHWIN'S RHAPSODY IN BLUE FOR Piano and Orchestra owed its composition to a public relations trick. The American band leader Paul Whiteman ’s wanted to demonstrate, by means of a concert in New York's famous Aeolian Hall, that jazz could be entirely acceptable socially, if only it could be dressed UP as "symphonic" music. Initially the song writer Gershwin, who was expected to write a large-scale work in jazz idiom, did not feel UP to undertaking this task for technical reasons, but accepted the challenge when in January 1924 Whiteman coolly announced in the press that the composer was going to provided a jazz concerto for the gala evening arranged for February 12. Gershwin chose a free rhapsodic form to which, following a suggestion by his brother Ira, he gave the title Rhapsody in Blue after the impressionistic descriptions of pictures by James Whistler, but also with an apposite reference to the typical jazz element of « blue notes ».

The orchestration of the composition, which Gershwin himself only wrote for two pianos, was undertaken by Whiteman's arranger, Ferde Grofé. Having originally exploited the specific technical capabilities of the jazz musicians in the Whiteman Orchestra, Grofé later produced two more versions, that for symphony orchestra from 1 942 becoming the one which is usually played today. In spite of all the structural inadequacies of which the Rhapsody is accused/ it was hailed at its first performance with Gershwin as the soloist as an epoch-making work and made its creator world-famous as « the man who had brought jazz into the concert hall. »

Ferde Grofé was called Ferdinand Rudolph von Grofe and his original name makes clear that the roots of his creativity, like those of so many American composers, lay in Europe. Nevertheless he was almost a copybook American musician, who reveled in the sights and sounds of his own country. On the basis of his work as pianist and violinist in Paul Whiteman's jazz orchestra he was in the front rank of the great arrangers: for example, he wrote the orchestral arrangement of Gershwin's Rhapsody in Blue. But he was also one of those musicians who wanted to bridge the gap between entertaining Jazz and serious music. All his works reflect this catchy, mixed flavor which, combined with boldly appealing titles such as Broadway at Night, Symphony in Steel, Metropolis, San Francisco Suite, Niagara Falls Suite, etc.., produces an accurate musical portrait of the American landscape. Last but not least in this line of succession is the Grand Canyon Suite..

John Williams conducts J.Williams - Star Wars: The Imperial March .. (Ct.rc.: Wiener Philharmoniker)

Classical Music/ /Reference Recording 2022-09-30 | John Williams (1932 - ) Star Wars Suite / John Williams & Wiener Philharmoniker
00:00 Introduction: Darth Vader
00:11 The Imperial March (The Empire Strikes Back)
03:20 Luke and Leia (Return o the Jedi)
07:20 The Rebellion is Reborn (The Last Jedi)
11:39 Main Title (A New Hope)

Wiener Philharmoniker
Conductor: John Williams
Recorded in 2020, at Vienna
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Otto Biba (Translation: J. Bradford Robinson): Film music on the one side, concert music and opera on the other: it’s a distinction that haunts many a brain and sometimes crops up in reality. But for John Williams the distinction has never existed. Nor can it be justified in the larger context of music history or in today’s musical life. Richard Strauss, Arnold Schoenberg, Paul Hindemith, Boris Blacher, Sergei Prokofiev, Dmitri Shostakovich, Aram Khachaturian and Leonard Bernstein, to name only a few figures from the non-cinematic universe, also wrote film music. Not even such full-blooded film composers as Erich Wolfgang Korngold, the brightest star in the Hollywood firmament before Williams, or Bernard Herrmann, who introduced Williams to Hollywood, let themselves be squeezed into a pigeonhole. (…)

Accordingly, the audience at John Williams’s concert with the Vienna Philharmonic, given in the Great Hall of the Musikverein in January 2020, was a motley bunch: dark suits and little black dresses mingled with T-shirts and jeans, and the listeners were, on average, younger than usual for a Philharmonic concert. It was easy to see who felt at home in the Great Hall and who was there for the first time. (…)

The concert itself became a major event: “Standing ovations from the very first note”, wrote Peter Jarolin in the Kurier; “standing ova- tions after almost every piece, cries of Bravo!, whoops, stomping and – you guessed it! – stand- ing ovations after almost three hours of music plus a handful of encores.” (…) Die Presse called it “an exceptional concert”, not least because of Anne-Sophie Mutter, who “half-im-provised the first violin part in the final encore”. As Stefan Ender put it, “The Philharmonic visibly and audibly enjoyed their foray into an unfamiliar genre.” Christoph Irrgeher, of the Wiener Zeitung, thought they played “with peerless euphony”, and Williams and his confrères were treated to “jubilation, stamping feet and ecstasy”.

From the ranks of the Philharmonic it was said that the musicians were delighted by Williams’s professional rehearsal work and pinpoint baton technique. And in the concert he did something that Nikolaus Harnoncourt had last done before him, again and again: he took the microphone and chatted with the audience, telling them about his life and work, thanking the orchestra (“one of the finest in the world”) and, with a wry smile, pronouncing himself very satisfied that his music could at last be heard without the distraction of a movie. (...)

John Williams was born in the New York borough of Queens in 1932. His father was an orchestral musician, and in 1948 the family moved to Los Angeles. He soon enrolled at UCLA, where he studied composition with the fabled Mario Castelnuovo-Tedesco. Returning to New York, he continued his studies at Juilliard. Though he occasionally had jazz gigs as a lounge pianist, his main interest fell on classical music. To date he has composed a great many works in this genre: two symphonies and other orchestral pieces, 11 concertos, a cycle of orchestral songs and various items of chamber music. He has also written two musicals, fanfares for four Olympic Games and much else, including music for 200 TV movies. But it was his film scores from 1954 on that brought him world fame. His breakthrough came in 1972 with The Poseidon Adventure, and his stat- ure in the industry was consolidated by Jaws (1975) and Star Wars (1977).

Anne-Sophie Mutter saw Star Wars at the age of 14 in the year of its premiere, when it was screened at a theatre in her native Black Forest. The music swept her away, and she became a passionate admirer of John Williams. To her, his melodies are “unforgettable”, but they also have something else: “The wonderful thing about John’s music is that it holds its own even without the movie.” (...) John Williams can look back on a lifetime of rich achievement. And forward to new projects. “May the Force be with him!”

John Williams - Star Wars Orchestra 'Main Theme' .. (r.r.: Zubin Mehta, Los Angeles Philharmonic): youtu.be/AHbqNRJltOE

John Williams - Star Wars Orchestra Main Theme .. (r.r.: Zubin Mehta, Los Angeles Philharmonic)

Classical Music/ /Reference Recording 2022-09-29 | John Williams (1932- ) Star Wars Orchestra
00:00 I. Main Theme
05:04 II. Princess Leia's Theme
09:28 III. The Little People
14:10 IV. The Battle
19:45 V. The Throne Room and End Title

Los Angeles Philharmonic Orchestra
Conductor: Zubin Mehta
Recorded in 1977
New mastering in 2022 by AB for CMRR
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The idea that the galaxy is crowded with Good and Evil, and that evolutionary progress varies from star to star, that space and time travel can be assumed to be perfectly feasible, to show methods of warfare never before transposed from the pages of a book, this revolutionary conception earned for Star Wars the kudos of becoming one of the most profitable films ever made.

Audiences had first been prepared for a departure like Stars Wars as long ago as the 1890s, when a pimply young schoolteacher called Herbert George Wells published his amazing, startling, utterly original time-space romances, War of the Worlds and The FirstMen in the Moon. Several of Wells' pioneering science fiction classics were made into movies in the years of the first talking pictures, but at that time cinematic techniques were insufficiently advanced to do justice to Wells' towering imagination. When Star Wars emerged, what made it such a hysterical triumph was the absolute realism of its special effects.

Usually when a composer is asked to write a score for a screen story, he is working within familiar frontiers. But when the worlds he is asked to portray are worlds which no human eye has ever seen, which no explorer has ever found, which no cartographer has ever mapped, what does he do? Where does he begin? In selecting John Williams to write the music for Star Wars, the makers of the movies knew what they were doing.

Endowed with an unlimited musical culture, John Williams does not hesitate to draw inspiration from great classical music composers such as Mendelssohn, Tchaikovsky or Richard Wagner. Like Wagner, he uses the leitmotif to identify characters and situations. With him, music holds a major place in each production: interacting with the images, it prepares the spectator for each action. His unique orchestration creates an atmosphere conducive to each event, and keeps the spectator on the edge of his seat. The treatment of his themes makes him a leading composer. Along with other composers such as John Barry and Ennio Morricone, he has greatly contributed to popularizing the use of the symphony orchestra in film music.

Gustav Holst (1874-1934) The Planets, Op. 36 by Herbert von Karajan / Remastered
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Holst - The Planets, Op. 36 / REMASTERED (Ct.rec.: Herbert von Karajan, Wiener Philharmoniker)

Classical Music/ /Reference Recording 2022-09-26 | Gustav Holst (1874-1934) The Planets, Op. 36 by Herbert von Karajan / Remastered
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Stanisław Moniuszko - The 2 String Quartets (reference recording: Warsaw String Quartet)

Classical Music/ /Reference Recording 2022-09-22 | Stanisław Moniuszko (1819-1872) The 2 String Quartets
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00:00 String Quartet No. 1 in D minor, ISM 60 - I. Allegro agitato
05:02 String Quartet No. 1 in D minor, ISM 60 - II. Andantino
08:41 String Quartet No. 1 in D minor, ISM 60 - III. Scherzo. Allegro moderato
12:28 String Quartet No. 1 in D minor, ISM 60 - IV. Finale. 'Un ballo campestre'. Allegro assai

15:57 String Quartet No. 2 in F Major, IMS 61 - I. Allegro moderato
22:09 String Quartet No. 2 in F Major, IMS 61 - II. Andante
27:54 String Quartet No. 2 in F Major, IMS 61 - III. Scherzo. Allegretto
30:02 String Quartet No. 2 in F Major, IMS 61 - IV. Finale. Allegro

Warsaw String Quartet
Recorded in 1981, at Warsaw
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After Chopin, Stanislaw Moniuszko (1819-1872) was the most important Polish composer of the 19th century. He is remembered as the creator of the national opera. His music was always simple, immediately understandable, with beautiful melodic inventions, coupled with a no less exceptional sense of theater and dramatic talent. Moniuszko was the first to forge an original national style, a synthesis of what is essentially Polish with the great European traditions. Having received a solid professional training in Warsaw and Berlin at the Singakademie, he was soon able to attract attention to his works - but despite short stays in Paris, Weimar and St. Petersburg, he spent his entire life in Poland, where, between Vilnius and Warsaw, he carried out an intense activity as a composer, performer (conductor and organist) and teacher.

During the 18 years he spent in Vilnius - a Lithuanian city of inestimable importance for Polish culture - he composed mainly operettas (among them Night in the Apennines and The New Don Quixote, based on the comedies of Aleksander Fredro), a vast series of melodies as well as sacred music (masses and litanies). But his most important triumphs were in Warsaw, thanks to his lyrical works. The series began in 1858 with the premiere of Halka, which led to his appointment as principal conductor and director of the Warsaw Opera, and later as professor of harmony and counterpoint at the city's Musical Institute. After Halka came other stage works, including The Countess and especially The Haunted Mansion, which assured his immortality. Between 1861 and 1862 Moniuszko went to Paris for a second time to have his works performed there. There he met Rossini and Auber - unfortunately, despite their support and the warm welcome of the Opera management, their promises to perform Halka and The Countess were not fulfilled.

Apart from his operas, Moniuszko left more than 400 songs, 6 cantatas, 4 masses, including a Requiem, 3 ballets, several symphonic works, several piano pieces and the two string quartets. The latter date from his years of study in Berlin, between 1837 and 1839. The form is impeccable, and the original musical ideas are obviously inspired by Polish folk music. In the Finale of Quartet No. 1, entitled "Un ballo campestre e sue consequenze", for example, the motif of the Hajduk, a traditional Polish dance, appears, as well as a clear reminiscence of Chopin's Concerto in F minor. The quartet is dedicated to Jozef Elsner, Chopin's teacher. The two quartets were not published until 1909, more than thirty years after the death of their author.

Frédéric François Chopin (1810-1849) The Chamber Music.
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Scarlatti - 26 Keyboard Sonatas K 141, 247, 27, 533 .. REMASTERED (Centurys recording: Emil Gilels)

Classical Music/ /Reference Recording 2022-09-20 | Domenico Scarlatti (1685-1757) 26 Keyboard Sonatas by Emil Gilels
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00:00 Keyboard Sonata in D minor, K. 141 (Remastered 2022, Moscow 1960)
04:31 Keyboard Sonata in F Major, K. 518 (Remastered 2022, Moscow 1960)
09:03 Keyboard Sonata in D minor, K. 32 (Remastered 2022, Moscow 1960)
11:17 Keyboard Sonata in F minor, K. 466 (Remastered 2022, Moscow 1960)
15:17 Keyboard Sonata in A Major, K. 533 (Remastered 2022, Moscow 1960)
18:05 Keyboard Sonata in B minor, K. 27 (Remastered 2022, Moscow 1960)
22:23 Keyboard Sonata in G Major, K. 125 (Remastered 2022, Moscow 1960)

24:49 Keyboard Sonata in D minor, K. 141 (Remastered 2022, London 1957)
29:02 Keyboard Sonata in C sharp minor, K. 247 (Remastered 2022, London 1957)
35:08 Keyboard Sonata in B minor, K. 27 (Remastered 2022, London 1957)
40:01 Keyboard Sonata in A Major, K. 533 (Remastered 2022, London 1957)
42:52 Keyboard Sonata in G Major, K. 125 (Remastered 2022, London 1957)

45:03 Keyboard Sonata in D minor, K. 141 (Remastered 2022, London 1984)
49:48 Keyboard Sonata in F Major, K. 518 (Remastered 2022, London 1984)
54:53 Keyboard Sonata in D minor, K. 32 (Remastered 2022, London 1984)
57:56 Keyboard Sonata in F minor, K. 466 (Remastered 2022, London 1984)
1:03:07 Keyboard Sonata in A Major, K. 533 (Remastered 2022, London 1984)
1:06:14 Keyboard Sonata in B minor, K. 27 (Remastered 2022, London 1984)
1:10:57 Keyboard Sonata in G Major, K. 125 (Remastered 2022, London 1984)

1:13:23 Keyboard Sonata in E Major, K. 380 (Remastered 2022, Moscow 1955)
1:18:26 Keyboard Sonata in B minor, K. 27 (Remastered 2022, Moscow 1955)
1:22:39 Keyboard Sonata in A Major, K. 113 (Remastered 2022, Moscow 1955)
Keyboard Sonata in C Major, K. 159 (Remastered 2022, Moscow 1955)
Keyboard Sonata in G Major, K. 125 (Remastered 2022, Moscow 1955)
Keyboard Sonata in D minor, K. 141 (Remastered 2022, Moscow 1955)
Keyboard Sonata in A Major, K. 533 (Remastered 2022, Moscow 1955)

Piano: Emil Gilels
Live recordings: London 1957 & 1984, Moscow 1960
Studio recording: Moscow 1955
New mastering in 2022 by AB for CMRR
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This remastered compilation is a testimony to Emil Gilels' art over a period of 30 years. 26 little recreated masterpieces lead us to mention in our title the number 26, because Emil Gilels never performs the same sonata the same way twice. The complete album is available on Qobuz, Apple, Amazon, Spotify, Tidal, Deezer (see links in description).

Piero Rattalino (on the occasion of an Emil Gilels concert in Italy): "I was a little disappointed when I read the new program: Seven Sonatas by Scarlatti in exchange for Brahms-Paganini did not seem very exciting. On the contrary, this was one of his most beautiful recitals.

Gilels was of medium height, rather short, with an agile but stocky build and a leonine head with redfish hair. He had a very particular way of walking on stage: head proudly up, face serious, never smiling, his pace fast.

I don't know if he did autogenic training in his dressing room, but you understood that the music had already started for him before it started for us. You understood it by his concentration and by the position of his arms (so strange that at first it seemed affected), extending from his body and bent at the elbow. What a strange position, I thought as I watched him enter the stage for the first time. I realized why when he sat down at the piano: his arms were already set to attack the keys.

An orchestral musician once told me that at rehearsals, Toscanini would walk up to the podium with his baton already in motion. Gilels came in with his arms ready to play, and kept that position. He didn't always do that, but when he did, there was a colossal force coming out of him, and you got the feeling that it was going to be a glorious evening."

Domenico Scarlatti (1685-1757) The Keyboard Sonatas by Clara Haskil.
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Bach - The Well-Tempered Clavier Books 1 & 2 / NEW MASTERING (Centurys recording: Wanda Landowska)

Classical Music/ /Reference Recording 2022-09-17 | Johann Sebastian Bach (1685-1750) The Well-Tempered Clavier by Wanda Landowska
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The Well-Tempered Clavier, Book 1 BWV 846-869
Prelude & Fugue #1 In C/C-dur/Ut Majeur, BWV 846 (00:00) ; (02:26)
Prelude & Fugue #2 In C Minor/c-moll/Ut mineur, BWV 847 (04:15) ; (06:14)
Prelude & Fugue #3 In C Sharp/Cis-dur/Ut dièse Majeur, BWV 848 (08:01) ; (09:17)
Prelude & Fugue #4 In C Sharp Minor/cis-moll/Ut dièse mineur, BWV 849 (11:40) ; (14:27)
Prelude & Fugue #5 In D/D-dur/Ré Majeur, BWV 850 (19:55) ; (21:14)
Prelude & Fugue #6 In D Minor/d-moll/Ré mineur, BWV 851 (23:03) ; (24:33)
Prelude & Fugue #7 In E Flat/Es-dur/Mi bémol Majeur, BWV 852 (26:27) ; (32:24)
Prelude & Fugue #8 In E Flat Minor/es-moll/Mi bémol mineur, BWV 853 (34:16) ; (37:25)
Prelude & Fugue #9 In E/E-dur/Mi Majeur, BWV 854 (44:28) ; (46:06)
Prelude & Fugue #10 In E Minor/e-moll/Mi mineur, BWV 855 (47:36) ; (50:33)
Prelude & Fugue #11 In F/F-dur/Fa Majeur, BWV 856 (51:54) ; (5309)
Prelude & Fugue #12 In F Minor/f-moll/Fa mineur, BWV 857 (54:36) ; (57:05)
Prelude & Fugue #13 In F Sharp/Fis-dur/Fa dièse Majeur, BWV 858 (1:03:43) ; (1:05:17)
Prelude & Fugue #14 In F Sharp Minor/fis-moll/Fa dièse mineur, BWV 859 (1:07:13) ; (1:08:33)
Prelude & Fugue #15 In G/G-dur/Sol Majeur, BWV 860 (1:12:54) ; (1:13:57)
Prelude & Fugue #16 In G Minor/g-moll/Sol mineur, BWV 861 (1:17:05) ; (1:19:15)
Prelude & Fugue #17 In A Flat/As-dur/La bémol Majeur, BWV 862 (1:23:25) ; (1:25:00)
Prelude & Fugue #18 In G Sharp Minor/gis-moll/Sol dièse mineur, BWV 863 (1:28:33) ; (1:30:14)
Prelude & Fugue #19 In A/A-dur/La Majeur, BWV 864 (1:33:03) ; (1:34:41)
Prelude & Fugue #20 In A Minor/a-moll/La mineur, BWV 865 (1:37:48) ; (1:39:13)
Prelude & Fugue #21 In B Flat/B-dur/Si bémol Majeur, BWV 866 (1:44:32) ; (1:46:02)
Prelude & Fugue #22 In B Flat Minor/b-moll/Si bémol mineur, BWV 867 (1:48:00) ; (1:51:24)
Prelude & Fugue #23 In B/H-dur/Si Majeur, BWV 868 (1:55:30) ; (1:57:32)
Prelude & Fugue #24 In B Minor/h-moll/Si mineur, BWV 869 (1:59:53) ; (2:03:05)
-
The Well-Tempered Clavier, Book 2 BWV 870-893
Prelude & Fugue #1 In C/C-dur/Ut Majeur, BWV 870 (2:12:19) ; (2:15:45)
Prelude & Fugue #2 In C Minor/c-moll/Ut mineur, BWV 871 (2:17:46) ; (2:20:03)
Prelude & Fugue #3 In C Sharp/cis-moll/Ut dièse, BWV 872 (2:24:08) ; (2:27:15)
Prelude & Fugue #4 In C Sharp Minor/cis-moll/Ut dièse mineur, BWV 873 (2:29:27) ; (2:33:45)
Prelude & Fugue #5 In D/D-dur/Ré Majeur, BWV 874 (2:37:04) ; (2:40:50)
Prelude & Fugue #6 In D Minor/d-moll/Ré mineur, BWV 875 (2:46:04) ; (2:47:51)
Prelude & Fugue #7 In E Flat/Es-dur/Mi bémol Majeur, BWV 876 (2:50:40) ; (2:53:41)
Prelude & Fugue #8 In D Sharp Minor/dis-moll/Ré dièse mineur, BWV 877 (2:55:37) ; (3:00:43)
Prelude & Fugue #9 In E/E-dur/Mi Majeur, BWV 878 (3:06:42) ; (3:10:31)
Prelude & Fugue #10 In E Minor/e-moll/Mi mineur, BWV 879 (3:13:49) ; (3:18:22)
Prelude & Fugue #11 In F/F-dur/Fa Majeur, BWV 880 (3:22:06) ; (3:27:59)
Prelude & Fugue #12 In F Minor/f-moll/Fa mineur, BWV 881 (3:30:16) ; (3:35:41)
Prelude & Fugue #13 In F Sharp/Fis-dur/Fa dièse Majeur, BWV 882 (3:38:16) ; (3:41:58)
Prelude & Fugue #14 In F Sharp Minor/fis-moll/Fa dièse mineur, BWV 883 (3:44:44) ; (3:48:24)
Prelude & Fugue #15 In G/G-dur/Sol Majeur, BWV 884 (3:57:17) ; (4:01:07)
Prelude & Fugue #16 In G Minor/g-moll/Sol mineur, BWV 885 (4:02:41) ; (4:06:15)
Prelude & Fugue #17 In A Flat/As-dur/La bémol Majeur, BWV 886 (4:10:27) ; (4:15:19)
Prelude & Fugue #18 In G Sharp Minor/gis-moll/Sol dièse mineur, BWV 887 (4:20:16) ; (4:25:53)
Prelude & Fugue #19 In A/A-dur/La Majeur, BWV 888 (4:31:16) ; (4:33:16)
Prelude & Fugue #20 In A Minor/a-moll/La mineur, BWV 889 (4:35:11) ; (4:38:39)
Prelude & Fugue #21 In B Flat/B-dur/Si bémol Majeur, BWV 890 (4:40:55) ; (4:45:34)
Prelude & Fugue #22 In B Flat Minor/b-moll/Si bémol mineur, BWV 891 (4:49:36) ; (4:54:51)
Prelude & Fugue #23 In B/H-dur/Si Majeur, BWV 892 (5:00:25) ; (5:03:13)
Prelude & Fugue #24 In B Minor/h-moll/Si mineur, BWV 893 (5:06:50) ; (5:10:07)

Harpsichord: Wanda Landowska
Recorded in 1949-1954 in USA
New mastering in 2022 by AB for CMRR
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"Music grows old only if it is neglected - like a woman who is no longer loved. Take an interest in her, and she will become young again." Wanda Landowska

J.S.Bach PLAYLIST (reference recordings): bit.ly/32OEAjL

Bruch - Kol Nidrei, Op. 47 / Remastered (Centurys recording: Pierre Fournier, Jean Martinon)

Classical Music/ /Reference Recording 2022-09-16 | Max Bruch (1838-1920) Kol Nidrei Op.47 by Pierre Fournier / Remastered 2022
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Cello: Pierre Fournier
Orchestre Lamoureux
Conductor: Jean Martinon
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Max Bruch's "Kol Nidrei" is - along with the popular first violin concerto - among his most famous compositions. The melancholic "Adagio after Hebrew Melodies" for the cellist Robert Hausmann was composed in 1880. It employs two ancient Jewish songs whose extraordinary beauty caused the Protestant Bruch, according to his own words, to be deeply moved. The tenor tone of the cello is the ideal medium to evoke the voice of a Jewish cantor, and so to this day the "Kol Nidrei" provides all cellists with a wonderful model of what is called "singing to the instrument". Click to activate the English subtitles for the presentation (00:00-01:13)

Max Bruch - Violin Concerto No.1 in G minor + P° (Century’s recording : Itzhak Perlman / Haitink): youtu.be/dUKZS2QQIm8

Debussy - Pelléas et Mélisande / Remastered (Camille Maurane - Centurys recording: Jean Fournet)

Classical Music/ /Reference Recording 2022-09-13 | Claude Debussy (1862-1918) Pelléas et Mélisande by Jean Fourner / Remastered.
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Pelléas et Mélisande, drame lyrique en cinq actes et douze tableaux
00:00 Act 1, Sc.1: Je ne pourrai plus sortir de cette fôret
03:30 Act 1, Sc.1: Pourquoi pleures-tu ?
12:47 Act 1, Sc.1: Interlude
09:28 Act 1, Sc.2: Voici ce qu’il écrit à son frère
15:34 Act 1, Sc.2: Qu’en dites-vous ?
20:39 Act 1, Sc.2: Interlude
22:57 Act 1, Sc.3: Il fait sombre dans les jardins
25:32 Act 1, Sc.3: Hoé! Hisse Hoé!

29:25 Act 2, Sc.1: Vous ne savez pas où je vous ai menée ?
32:54 Act 2, Sc.1: C’est au bord d’une fontaine
35:42 Act 2, Sc.1: Interlude
39:31 Act 2, Sc.2: Ah! Ah!
47:11 Act 2, Sc.2: Voyons, donne-moi ta main
50:00 Act 2, Sc.2: Interlude
52:39 Act 2, Sc.2: Oui, c’est ici, nous y sommes

57:24 Act 3, Sc.1: Mes longs cheveux descendent
1:02:57 Act 3, Sc.1: Je les tiens dans les mains
1:07:14 Act 3, Sc.1: Que faites vous ici ?
1:10:46 Act 3, Sc.2: Prenez garde; par ici
1:14:20 Act 3, Sc.3: Ah! je respire enfin !
1:17:26 Act 3, Sc.3: Interlude
1:18:58 Act 3, Sc.4: Viens, nous allons nous asseoir ici
1:24:12 Act 3, Sc.4: S’ils s’embrassent, petit père ?

1:28:28 Act 4, Sc.1: Où vas tu ?
1:31:27 Act 4, Sc.2: Maintenant que le père de Pelléas est sauvé
1:37:35 Act 4, Sc.2: Pelléas part ce soir
1:40:43 Act 4, Sc.2: Ne mettez pas ainsi votre main à la gorge
1:44:06 Act 4, Sc.2: Interlude
1:48:19 Act 4, Sc.3: Oh! Cette pierre est lourde…
1:51:53 Act 4, Sc.4: C’est le dernier soir
1:57:04 Act 4, Sc.4: On dirait que ta voix a passé sur la mer au printemps !
2:00:41 Act 4, Sc.4: Quel est ce bruit ?

2:04:32 Act 5: Ce n'est pas de cette petite blessure qu'elle peut mourir
2:07:39 Act 5: Attention, je crois qu’elle s’éveille
2:13:07 Act 5: Mélisande, as-tu pitié de moi ?
2:17:46 Act 5: Qu’avez-vous fait ?
2:20:56 Act 5: Qu'y-a-t-il ? Qu'est-ce que toutes ces femmes viennent faire ici
2:22:59 Act 5: Attention... Attention !

Pelléas, Grandson of Arkel: Camille Maurane
Mélisande: Janine Micheau
Arkel, King of Allemonde: Xavier Depraz
Golaud: Michel Roux
Geneviève, Mother of Pelleas and Golaud: Rita Gorr
Yniold, The child Yniold: Annik Simon
Un berger / Le medecin: Marcel Vigneron

Orchestre des Concerts Lamoureux
Choeurs Elisabeth Brasseur
Jean FOURNET
Recorded in 1953, at Paris
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Act One
Lost while out hunting, Golaud finds Mélisande crying beside a pool and identifies him self as Prince Golaud, grandson of Arkel, aged King of Allemonde. She evades all questions and will not let him retrieve her golden crown which is shining in the water. He warns of the dangers of the forest at night and she reluctantly accompanies him, though he says he is lost like her. — In Arkel’s castle, Geneviève, mother of the half-brothers Golaud and Pelléas, reads to the nearly blind Arkel a letter from Golaud describing his meeting with Mélisande, whom he married six months ago yet about whom he still knows nothing. Unsure whether Arkel will receive Mélisande, he says he will take a light in the castle turret overlooking the sea as a sign of welcome. If there is no light he will sail on, never returning. Arkel had hoped Golaud would make a dynastic marriage, putting an end to ancient feuds, but he accepts the situation philosophically. Pelléas enters, saying he has received a letter from his friend Marcellus, who is dying and wants to see him. Arkel reminds Pelléas that his own father is ill, perhaps dying too, and Geneviève tells him to put a light in the turret. — Pelléas joins Mélisande and Geneviève in the garden of the castle, which is surrounded by dark forests. They watch a ship leaving the misty harbour below as a storm brews. Pelléas says he might be leaving tomorrow.

** COMPLETE PRESENTATION: LOOK THE FIRST PINNED COMMENT. **

Claude Debussy (1862-1918) Orchestral Works Part 2 by Manuel Rosenthal.
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Claude Debussy PLAYLIST (references recordings): youtube.com/playlist?list=PL3UZpQL9LIxNVtIKMcyB_LBU_ZUPONxWd

Ravel - The Piano concertos by Samson François REMASTERED (Century’s recording)

Classical Music/ /Reference Recording 2022-09-12 | Maurice Ravel (1875-1937) The Piano Concertos by Samson François / Remastered
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Scriabin - The Poem of Ecstasy, Op. 54 / REMASTERED (Ct.rc.: Leopold Stokowski, Nikolai Golovanov)

Classical Music/ /Reference Recording 2022-09-10 | Alexander Scriabin (1871-1915) Poem of Ecstasy & Prometheus: Poem of Fire
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00:00 The Poem of Ecstasy, Op. 54
Leopold Stokowski
Houston Symphony Orchestra
Recorded in 1960
New mastering in 2022 by AB for CMRR

19:16 The Poem of Ecstasy, Op. 54
Nikolai Golovanov
Moscow Radio Symphony Orchestra
Recorded in 1952
New mastering in 2022 by AB for CMRR

Prometheus: The Poem of Fire, Op. 60 youtu.be/Hoz6qBC2iBY
Piano: Alexander Goldenweiser
Nikolai Golovanov
Moscow Radio Symphony Orchestra
Recorded in 1947
New mastering in 2022by AB for CMRR
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Here are two complementary versions. Leopold Stokowski strikes us with his magic of timbres / color palette. He unfolds a fairy world that bewitches us and leaves us in weightlessness. Golovanov joins the interpretative ideal of Sofronitsky. The tension and violence of the direction sweeps everything away in its path. An absolutely legendary interpretation.

Premiered in 1908 in New York by the Russian Symphony Orchestra, this one-movement "Orgiastic Poem" exalts the mystical philosophy of the Russian composer. A work that unfolds a bewitching universe of sound and of which Scriabin thought that after its performance "everyone would perish on the field of ecstasy."

"Once again, I am swept away by a wave of creativity. I lose my breath, but oh, what joy!" Isolated but visionary, Aleksandr Scriabin saw his personal creation as reaching out to the divine and universal Creation.

The ambitious Poem of Ecstasy can be likened to a large sonata form. The first part spreads a great sheet of streaming music, a perpetual vibration of diffuse patterns and flashing timbres. "Pouring out streams of hope / Illuminated again / The spirit burns with the ardor of living". It begins with a kind of awakening, very impressionistic in its construction; then a scherzando-like passage gives free rein to a magic close to Rimsky-Korsako: "Brilliant reflections / of a magic light / illuminate the Universe".

Shortly thereafter, the only truly individualized motifs appear, a trumpet call, with a conquering profile, and the sighs of the solo violin: it sounds like two faces of desire, the one that undertakes and the one that longs. But it is especially the trumpet leitmotiv that will be reiterated throughout the work, like a "consciousness of the self" crossing the cosmic quivering: "the Spirit that plays, the Spirit that desires, the all-powerful Spirit, creating while dreaming...".

Suddenly, the electricity of the storms comes to disturb this spiritual blossoming: " Threatening rhythms and dark presentiments / Brutally invade this charming world / [...] Mouths of frightful monsters open up ". The tightening of the motives, which resembles a development, the darkness of the brass, the deliberate confusion recall many passages of Richard Strauss; the glockenspiel maintains its mystical notes in this fracas, "The lightning of the divine will criss-crosses the sky. A sort of recapitulation brings back the initial flutter, the allegro volando, another battle and the affirmation of the trumpet motif.

Towards the end, this main motif, transfigured, "bursts" into a monstrous chime. The coda, which repeats the motif with a moving melodic breadth, manages to make the final C major chord sound like the most phenomenal event ever.

The two recordings reproduced here illustrates the extent to which Golovanov understood the integrality of the composer's music. The demiurgic gestures, the astonishing agogic freedom, that no other conductor has dared to instil into this work, the visionary quality of the orchestral timbre make this recording the very peak of Scriabin discography - testimony to the total identification of a performer with a work. On this recording Alexander Goldenweiser plays a piano tuned as the composer specified, a piano prepared for the work, its tuning having been lowered so that it blends with the orchestra, a supplementary colour, not a soloist element.

Just as exceptional is the recording of "The Poem of Ecstasy" with such violent intensity, such an unyielding crescendo, with such a sublime agogic brutality that it is hard to believe that it remained undiscovered for such a long time.

Alexander Scriabin - Poèmes, Mazurkas, Études, Sonatas .. The Piano Works by Joseph Villa (Ct.rc.): youtu.be/prLYVTBOPPk

Tchaikovsky - The Sleeping Beauty Op. 66 / REMASTERED (Ct.rc.: Antal Doráti, Minneapolis Orchestra)

Classical Music/ /Reference Recording 2022-09-08 | In partnership with the Antal Doráti Centenary Society http://www.dorati-society.org.uk/home.htm
Pyotr Ilyich Tchaikovsky (1840-1893) - The Sleeping Beauty Op. 66 REMASTERED.
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Click to activate the English subtitles for the presentation (00:00-05:07)
00:00 Prologue (The christening of Princess Aurora) - Introduction
02:56 Prologue - No. 1 Marche de salon
07:42 No. 2 Entrance of the Fairies, Scène dansante
11:42 No. 3a. Pas de six, Introduction
12:14 No. 3b. Pas de six, Grand adage
15:33 No. 3c. Pax de six, Variation I
16:20 No. 3d. Pas de six, Variation II: Coulante - Fleur de farine
16:50 No. 3e. Pax de six, Variation III: Miettes qui tombent
17:37 No. 3f. Pas de six, Variation IV: Canari qui chante
18:04 No. 3g. Pas de six, Variation V: Violente (échevelée)
19:06 No. 3h. Pas de six, Variation VI: La Fée des lilas (voluptueuse)
20:08 No. 3i. Pas de six, Coda
22:07 No. 4 Final

30:39 Act I (The four fiancés of Princess Aurora) - No. 5 Scene
37:26 No. 6 Great village waltz
41:43 No. 7 Scene
43:23 No. 8a. Pas d’action: Grand adage à la rose
49:01 No. 8b. Pas d’action: Danse des demoiselles d’honneur et des pages
51:02 No. 8c. Pas d’action: Variation d’Aurore
53:37 No. 8d. Coda
56:59 No. 9 Final

1:03:00 Act II (Scene I - Prince Desire's hunt) - No. 10 Entr’acte et Scène de la chasse royale
1:06:00 No. 11 Colin-Maillard
1:07:45 No. 12a. Scene
1:08:31 No. 12b. Danse des duchesses
1:09:29 No. 12c. Danse des baronesses
1:10:11 No. 12d. Danse des comtesses
1:10:48 No. 12e. Danse des marquises
1:11:42 No. 13a. Farandole. Scene
1:11:59 No. 13b. Farandole. Danse
1:13:24 No. 14 Scène et départ des chasseurs et entrée de la fée des lilas
1:18:32 No. 15a. Pas d'action - L'apparition d'Aurore
1:23:29 No. 15b. Pas d'action - Variation d’Aurore
1:24:48 No. 15c. Pas d'action - Coda
1:26:18 No. 16 Scene
1:27:07 No. 17 Panorama
1:29:17 No. 18 Entr’acte for solo violin: andante sostenuto
1:34:01 (Scene II - Sleeping Beauty's Castle) - No. 19 Symphonic Entr'acte - Le sommeil et Scène
1:41:24 No. 20 Final - Le réveil d'Aurore

1:43:55 Act III (The Wedding of Desire and Aurora) No. 21 - Marche-
1:47:45 No. 22 Grande polonaise (The Procession of the Fairy Tales)
1:51:38 No. 23a. Pas de quatre, Entrée
1:53:30 No. 23b. Pas de quatre, Variation I - La fée Or
1:54:17 No. 23c. Pas de quatre, Variation II - La fée Argent
1:55:07 No. 24d. Pas de quatre, Variation III - La fée Saphir
1:56:01 No. 23e. Pas de quatre, Variation IV - La fée Diamant
1:56:47 No. 23f. Pas de quatre, Coda
1:57:33 No 24 Pas de caractère, Le chat botté et la chatte blanche
1:59:15 No. 25a. Pas de quatre, Entrée
2:01:12 No. 25b. pas de quatre, Variation I - Cendrillon et Fortuné
2:02:09 No. 25c. Pas de quatre, Variation II - L’Oiseau bleu et la princesse Florine
2:02:54 No. 25d. Pas de quatre
2:04:27 No. 26a. Pas de caractère, Le petit Chaperon rouge et le Loup
2:05:44 No. 26b. Pas de caractère, Cendrillon et le prince Fortuné
2:08:35 No. 27 Pas berrichon; Le Petit Poucet, ses frères et l’Ogre
2:10:42 No 28a. Pas de deux, Aurore et Desiré
2:12:01 No 28c. Pas de deux, Adagio
2:16:09 No 28d. Pas de deux, Variation I - Prince Désiré
2:17:14 No. 28e. Pas de deux, Variation II - Aurore
2:19:23 No. 28e. Pas de deux, Coda
2:20:42 No. 29 - Sarabande
2:22:49 No. 30a - Final
2:28:18 No. 30b - Apotheosis (Helios in Louis XIV costume, illuminated by the sun surrounded by fairies)

Minneapolis Symphony Orchestra
Solo violin: Raphael Druian
Conductor: Antal Doráti
Recorded in 1955, at Minneapolis
New mastering in 2022 by AB for CMRR
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The Sleeping Beauty is not only one of Tchaikovsky’s best works but an unmistakable masterpiece, both musically and theatrically, in which the composer creates a world of timeless beauty, that can ce compared to the world created by Mozart in such an opera as ’The Magic Flute’. Some of the credit must go to Vsevolozhsky and Petipa for producing a scenario of such potential but, in craftsmanship alone, Tchaikovsky overshadows them; the brillant characterisation, the dramatic strength, the subtle use of motifs, the key structure, the rhythmic and orchestral diversity - all these give evidence of astonishing artistic skill. There is the sense of humour that Stravinsky so admired. And, above all, there are the melodies, stretching like a golden chain from start to finish.

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The art of Viola da Gamba (Sainte-Colombe..) - Solo recital by John Dornenburg (reference recording)

Classical Music/ /Reference Recording 2022-09-03 | John Dornenburg, Viola da gamba.
Tobias Hume (1569-1645)
00:00 Captaine Humes Pavan
07:09 The Spirit of Gambo

Le Sieur de Sainte-Colombe (1640-1700) Pièces de viole seule
09:43 Allemande
13:41 Courante
15:59 Sarabande
18:44 Ballet
21:14 Chaconne

Christopher Simpson (1605-1669) Prelude and Division in D Major
24:56 Prelude
26:12 Division in D Major

Karl Friedrich Abel (1723-1787)
31:05 Prelude
32:51 Allemande

Marin Marais (1656-1728)
35:47 Chaconne

Viola da Gamba: John Dornenburg

After many years as a San Francisco Bay Area performer, teacher, and recording artist, John Dornenburg now resides in the Cotswold region of the United Kingdom. He has made over thirty CDs of both solo and chamber music on all sizes of viola da gamba and violone, two of which feature virtuoso music for the unaccompanied bass viol. As a viola da gamba soloist he has performed in Britain, Ireland, the Netherlands, Turkey, Lebanon, Australia, New Zealand, and across the U.S.A., including appearances at the Istanbul International Festival, Krakow Festival, York Early Music Festival, Kilkenny Festival, Melbourne International Festival, Monadnock Festival, and Berkeley Early Music Festival. In addition to chamber music concerts, he has frequently performed the obbligato viol parts in J.S. Bach’s St. Matthew and St. John Passions with organizations that include the San Francisco Symphony, Oregon Bach Festival, and Carmel Bach Festival.

John has been featured as a guest artist with many ensembles across the USA, and he is the director of the Sex Chordæ Consort of Viols, founder of the Baroque ensemble Music’s Re-creation, and co-founder of the Archetti Baroque String Ensemble. He has been music director for productions of Monteverdi’s Vespers of 1610 and Purcell’s Dido and Aeneas (both for the Renaissance and Baroque Society of Pittsburgh), and in 2005 he conducted four fully-staged performances of Monteverdi’s L’incoronazione di Poppea at California State University, Sacramento. He has edited three published collections of 17th-century music for viol consort by John Hingeston for PRB Productions, and has contributed reviews and articles to the Journal of Seventeenth Century Music and Early Music America.

From 1988-2018 John held the position of Lecturer in Viola da gamba at Stanford University, and more recently was appointed Instructor of Violone at the University of California, Berkeley, where he also co-directed the University Baroque Ensemble for one year. John has taught music history on the faculties of Carnegie-Mellon University and the California State University at Sacramento, where he specialized in pre-Classical Era history and literature and Jazz history. He was an adjunct faculty member at the University of Washington in Seattle, and Artist-in-Residence at Melbourne University’s Early Music Studio in Australia. John is a frequent faculty member at music workshops such as the Viola da Gamba Society Conclave and Viols West, and he has also taught at the Amherst Early Music Workshop, Aston Magna, and at both the Medieval-Renaissance and the Baroque Summer Workshops of the San Francisco Early Music Society. For eleven years he directed the Stanford Viol Workshop.

He was awarded the Soloist’s Diploma for his studies with Wieland Kuijken at the Koninklijk Konservatorium in Den Haag, Holland, and he also studied Baroque performance practice with Nikolaus Harnoncourt at the Mozarteum in Salzburg, Austria.

http://johndornenburg.com

Baroque Composers (XVII-XVIII Centuries): youtube.com/playlist?list=PL3UZpQL9LIxMlLk5PrRXJs-Mv9_GV2eZi

Bizet - Carmen Opera (Full) / REMASTERED (Solange Michel - Centurys recording: André Cluytens)

Classical Music/ /Reference Recording 2022-08-30 | Georges Bizet (1838-1875) Carmen Opera by André Cluytens / REMASTERED
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Synopsis en français: activez les sous-titres (00:00-03:53)
00:00 Carmen: Ouverture
03:33 Scène et chœur : « Sur la place » (Les Soldats, Moralès, Micaëla) - Acte 1
09:21 Chœur des gamins : « Avec la garde montante »
12:55 Scène : « Dites-moi, brigadier » (Zuniga, Don José)
13:36 Chœur des cigarières : « La cloche a sonné »
17:02 Récit et habanera : « Quand je vous aimerai ? »
17:25 Récit et habanera : « L’amour est un oiseau rebelle » (Carmen, Chœur)
21:04 Scène : « Carmen sur tes pas » (Jeunes gens, Carmen, Les Cigarières)
21:36 Récit : « Eh ! Compère, qu'est-ce que tu fais là ? » (Don José, Micaëla, Les Cigarières)
22:37 Duo : « Parle-moi de ma mère » (Don José, Micaëla) -
30:07 Scène : « Maintenant, je vais lire sa lettre » (Don José, Micaëla)
30:36 Choeur : « Au secours ! au secours ! » (Chœur, Zuniga)
33:26 Chanson et mélodrame : « Voyons, brigadier !... Tra la la » (Zuniga, Don José, Carmen)
35:54 Séguedille et duo : « Près des remparts de Séville... » (Carmen, Don José)
39:21 Final : « Voici l'ordre, partez » (Zuniga, Carmen)

41:16 Entr'acte I - Carmen

42:59 Chanson bohème : « Les tringles des sistres tintaient » (Carmen) - Acte 2
47:10 Récit : « Vous avez quelque chose à nous dire, maître Lillas Pastia ? » (Zuniga, Pastia, Frasquita, Carmen)
47:55 Choeur : « Vivat ! Vivat le torero ! » (Chœur, Zuniga)
49:03 Couplets : « Votre toast, je peux vous le rendre » (Escamillo, Chœur)
53:46 Récit : « Messieurs les officiers » (Escamillo, Zuniga, Carmen)
55:03 Récit et quintette : « Pourquoi nous as-tu fait signe... Nous avons en tête une affaire » (Mercédès, Un Contrebandier, Frasquita, Le Dancaïre, Le Remendado, Carmen)
1:00:03 Récit : « En voilà assez ! » (Le Dancaïre, Carmen)
1:00:27 Chanson : « Halte-là ! » (Don José, Frasquita, Le Dancaïre, Carmen)
1:01:39 Récit : « Enfin, te voilà ! » (Carmen, Don José)
1:02:26 Duo : « Je vais danser en votre honneur » (Carmen, Don José)
1:07:25 Air : « La fleur que tu m'avais jetée » (Don José)
1:10:12 Duo: « Non ! Tu ne m'aimes pas ! (Carmen, Don José)
1:13:34 Finale : « Holà ! Carmen ! Holà !

1:18:01 Entr'acte II - Carmen

1:20:14 Sextuor & chœur : « Écoute, écoute, compagnon » (Chœur, Le Dancaïre, Le Remendado, Don José)
1:24:04 Récit : « Nous allons camper ici » (Le Dancaïre, Le Remendado, Don José, Carmen)
1:24:44 Trio : « Mêlons ! Mêlons, coupons ! » (Carmen, Frasquita, Mercédès)
1:31:16 Récit : « Eh ! bien ? » (Carmen, Le Dancaïre, Don José)
1:31:54 Morceau d'ensemble : « Quant au douanier... » (Frasquita, Mercédès, Carmen, Le Remendado, Le Dancaïre)
1:34:44 Récit & air : « C’est des contrebandiers le refuge ordinaire... Je dis que rien ne m'épouvante » (Micaëla)
1:40:08 Récit : « Mais je ne me trompe pas » (Micaëla, Don José)
1:40:19 Duo : « Je suis Escamillo » (Escamillo, Don José)
1:43:20 Finale : « Holà! Holà ! José! » (Tous le monde)

1:50:35 Entr'acte III - Carmen

1:52:52 Choeur : « A deux cuartos ! à deux cuartos ! (Chœur, Zuniga, Marchands, Bohémiens)
1:55:04 Marche & chœur : « Les voici ! les voici ! »
2:01:47 Duo : « C'est toi ! » (Carmen, Don José)
2:06:29 Chœur : « Viva ! Viva ! » (Chœur, Carmen, Don José) // Error on the final when loading but the recording is complete on youtube music (bit.ly/3wUdsff) as well as on all other streaming platforms.

Carmen: Solange Michel
Micaëla: Martha Angelici
Don José: Raoul Jobin
Escamillo: Michel Dens
Frasquita: Germaine Chellet
Mercédès: Raymonde Notti
Le Dancaïre: Jean Vieuille
Remendado: Frédéric Leprin
Moralès: Julien Thirache
Zuniga: Xavier Smati
Lillas Pastia: Arschodt
Orchestre du Théâtre National de l’Opera-Comique
Choeur du Théâtre National de l’Opéra-Comique
Chorus master: Henri Janin
Conductor: André Cluytens
Recorded in 1950, at Paris (Théâtre des Champs-Elysées)
New mastering by AB for CMRR in 2022
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*** COMPLETE PRESENTATION: LOOK THE FIRST PINNED COMMENT ***

Richard Wagner (1813-1883) - Orchestral Works from the Operas by André Cluytens
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Beethoven - Piano Sonatas Op.109,110,111 REMASTERED (Centurys recording: Sviatoslav Richter 1963)

Classical Music/ /Reference Recording 2022-08-29 | Ludwig Van Beethoven (1770-1827) Piano Sonatas Op. 109,110, 111 by Sviatoslav Richter.
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F.V. Suppé - Poet and Peasant, The Beauttiful Galatea .. / Overtures REMASTERED (Ct.rc.: Paul Paray)

Classical Music/ /Reference Recording 2022-08-25 | Franz von Suppé (1819-1895) Six Overtures by Paul Paray / Remastered.
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00:00 Overture: Poet and Peasant (Remastered 2022)
09:24 Overture: The Beautiful Galatea (Remastered 2022)
15:43 Overture: Morning, Noon and Night in Vienna (Remastered 2022)

Detroit Symphony Orchestra
Conductor: Paul Paray
Recorded in 1959
New mastering in 2022 by AB for CMRR
Painting: Jean-François Millet (1814-1875) L'Angélus
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Despite his father's opposition, Franz von Suppé (1819 - 1895) began composing at an early age. While studying law in Padua, he remained passionate about music, attending many performances of Italian operas and continuing to compose and make music. After the death of his father Franz von Suppé moved to Vienna to study composition. An appointment as conductor of the "Theater an der Wien" soon followed, a position he held until 1862. From 1865 he was appointed conductor of the 'Carltheater', also known as the 'Theater in der Leopoldstadt'. He also continued to compose until the end of his life. Franz von Suppé achieved extraordinary popularity with his classical Viennese operettas and instrumental music. He mastered the art of combining French and Viennese music styles.

His famous overture 'Poet and Peasant' is part of a stage music written for the comedy of the same name by Karl Elmar. It was for the premiere of the play in August 1846 in Vienna that a suitable overture music was sought. The poet approached the young composer Franz von Suppé, who accepted, despite the short time available. In fact, he made a new arrangement of music that had already been performed without much success. The publisher Josef Aibl attends the premiere and is immediately captivated by the music, which he buys the rights to for the paltry sum of eight florins. Suppé, who needed money, accepted, but he was to bite his fingers off for the rest of his life, for the publisher printed many copies and sold a total of 52 different arrangements. In the plot we find the incomprehension of a guardian for his ward, which does not prevent the girl from throwing herself at the neck of her companion. Because this young man, all peasant that he is, is not less poet, and without equal in all the region. He even goes so far as to beat a city poet on vacation during a literary joust. This naturally raises the prestige of the peasant in the eyes of the pupil. Everything is arranged, obviously, thanks to the intervention of an old peasant. For some, the fame of this overture dates back to the time of its transcription for wind orchestra.

Camille Saint-Saëns (1835-1921) Symphony No. 3 in C minor, Op. 78 "ORGAN"
by Paul Paray and Marcel Dupré (Century's recording)
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Franz von Suppé - Light Cavalry, Pique Dame, Boccaccio / Overtures REMASTERED (Ct.rc.: Paul Paray)

Classical Music/ /Reference Recording 2022-08-23 | Franz von Suppé (1819-1895) Six Overtures by Paul Paray / Remastered.
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00:00 Overture: Light Cavalry (Remastered 2022)
06:23 Overture: Pique Dame (Remastered 2022)
13:51 Overture: Boccaccio (Remastered 2022)

The remastered compilation of all the overtures performed by Paul Paray and the Detroit Symphony Orchestra is available on youtube music (youtube.com/watch?v=bOcj4pK1Ins&list=OLAK5uy_mAWyk86NTzQpg4MxL30GkcJjWNVB2Fxow) or on the main platforms by clicking on the links above.

Detroit Symphony Orchestra
Conductor: Paul Paray
Recorded in 1959
New mastering in 2022 by AB for CMRR
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With Poet and Peasant, the Light Cavalry of 1866 forms the keystone of the "popular" Suppé catalogue. As program music it represents a considerable achievement in verisimilitude, repeatedly demonstrated by its enlistment as "background" for film sequences showing mounted military movements. Kipling must have loved it. The cavalry arrives with a movement worthy of a horse's gallop (Allegretto brillante).

The operetta opens with an arpeggiated brass fanfare in a majestic tempo (Maestoso). This same fanfare is then taken up by the horns, then transposed into minor. A short development with the woodwinds and strings brings back the initial theme, with an ostinato that gives it a very martial side. First change of tempo (Allegro) and a new theme announced by the strings, which brings an incredible and sudden tension. The unstable melody of the violins, the dark and heavy bass and the minor mode accentuate this palpable tension. The cavalry finally arrives with a movement worthy of a horse's gallop (Allegretto brillante). Announced first by the brass, the theme is taken up by the entire orchestra. Only the clarinet interrupts this ride with a free and sad solo, declaimed like an opera recitative and punctuated by the orchestra. The theme that follows this solo is full of emotion, played by all the violins, violas and cellos in unison: the recurring sequence of notes at the end of each phrase is undoubtedly a Hungarian musical idiom. Suddenly, the cavalry takes over again before arriving at the final coda which takes up the theme of the military march one last time.

Pique Dame. Not to be confused with the Tchaikovsky masterpiece of a quarter-century later. Presumably the Suppé work is based on the same Pushkin tale about a sinister old card sharp of a countess who takes her secrets to the grave and then returns as a ghost to taunt her unwitting murderer to suicide. On second thought this archetypical Slavic plot hardly seems to be the kind of thing that would appeal to Suppé, but no précis of the libretto is to be had, and the listener is therefore free to let his fancy roam.

The aforementioned Boccaccio was given its premiere in Vienna during the season of 1878-79. As the title would suggest, its plot has to do with the sometimes scandalous doings of the "naughty writer" whose Decameron still titillates. The action takes place in Florence; the time is 1331.

Camille Saint-Saëns (1835-1921) Symphony No. 3 in C minor, Op. 78 "ORGAN"
by Paul Paray and Marcel Dupré (Century's recording)
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Rachmaninoff - Piano Concerto No. 3 by Vladimir Horowitz (Remastered 1930) / Presentation

Classical Music/ /Reference Recording 2022-08-22 | Sergei Racchmaninoff (1873-1943) - Piano Concerto No.3 by Vladimir Horowitz (Remastered 1930)
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Charles Gounod - Mireille : Ouverture / Le Val dEnfer (Ct.rc.: Jésus Etcheverry / Remastered)

Classical Music/ /Reference Recording 2022-08-20 | Charles Gounod (1818-1893) Mireille : Complete Opera in V acts (with the links).
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00:00 Mireille: Ouverture - Acte 1: L’enclos des muriers
05:40 Ah ! Qu'ai-je fait ! - Acte 3: Deuxième Tableau, Le Pont de Trinquetaille - Mireille
11:03 Voici minuit ! - Acte 3: Deuxième Tableau, Le Pont de Trinquetaille - Mireille

The complete remastered edition is available on youtube music and on all major music streaming platforms: youtube.com/watch?v=bzQnMaywoJE&list=OLAK5uy_lsNbeEQVZZ0W7bCRZEc0rF7ZioqNO3spU

Mireille : Renée Doria
Vincent : Michel Sénéchal
Ourrias : Robert Massard
Orchestre Symphonique et choeur de Paris
Direction : Jésus Etcheverry
Recorded in 1962
New mastering in 2022 by AB for CMRR
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Après la magnifique ouverture (00:00) au ton provençal, nous voilà entrainé au troisième acte, « dans le Val d’Enfer » (05:40), Ourrias s’abandonne à la jalousie. Il accuse Vincent d’avoir usé de magie pour séduire Mireille. Ourrias finit par frapper Vincent. Taven le maudit et entreprend de soigner le pauvre Vincent. Ourrias erre sur les bords du Rhône ne sachant plus que faire (09:48). A minuit, un spectre l’entraîne dans les profondeurs du fleuve. Ce passage, l’un des plus beaux de l’opéra, est sublimé par les choeurs qui accentuent l’atmosphère fantasmagorique (11:02 ; 11:55 …). Cela nous rappelle l’univers romantique allemand..

After the magnificent opening (00:00) in the Provencal tone, we are carried into the third act, " in the Valley of Hell " (05:40), Ourrias gives in to jealousy. He accuses Vincent of having used magic to seduce Mireille. Ourrias ends up hitting Vincent. Taven curses him and undertakes to look after the poor Vincent. Ourrias wanders on the banks of the Rhône not knowing what to do (09:48). At midnight, a ghost drags him in the depths of the river. This passage, one of the most beautiful of the opera, is sublimated by the choirs which accentuate the phantasmagorical atmosphere (11:02 ; 11:55 ...). It reminds us of the German romantic universe...

// Mireille, une jeune provençale, préfère le pauvre vannier Vincent à Ourrias, le riche prétendant que son père a choisi pour elle. Aveuglé par la jalousie, Ourrias blesse Vincent et le laisse pour mort. Mireille décide de partir en pèlerinage aux Saintes-Maries pour obtenir la guérison de Vincent mais elle meurt d’épuisement au terme d’un long et pénible chemin à travers la plaine de la Crau rendue mortifère par un soleil implacable. //

// Mireille, a young Provençal woman, prefers the poor craftsman Vincent to Ourrias, the rich suitor her father has chosen for her. Blinded by jealousy, Ourrias hurts Vincent and leaves him for dead. Mireille decided to go on a pilgrimage to Saintes-Maries to obtain Vincent's cure, but she died of exhaustion at the end of a long and painful journey across the Crau plain, made deadly by an implacable sun //

Charles Gounod - Mireille : Chantez, chantez, Magnanarelles (Ct.rc.: Jésus Etcheverry / Remastered): youtu.be/9zQ7GzreEms

Canteloube - La delaïssádo (Complete Songs of the Auvergne) / Remastered (Ct.rc.: Netania Davrath)

Classical Music/ /Reference Recording 2022-08-18 | Joseph Canteloube (1879-1957) Songs of the Auvergne (Full version with links just below).
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Click to activate the English subtitles for the presentation (00:00-03:14)
00:00 Trois bourrées (Three Bourrees) - Chants d'Auvergne (Remastered 2022)
L’aio dé rotso (Spring Water)
Ound' onorén gorda? (Where will we find our flock?)
Obal din Iou Limouzi (Down below in Limousin)
06:47 La delaïssádo (The Abandoned) - Chants d'Auvergne (Remastered 2022)
11:48 Deux bourrées (Two Bourrées) - Chants d'Auvergne (Remastered 2022)
N’aïpas ieu de mio (I have no girl to love me)
Lo Calhé (The quail) - Chants d'Auvergne

**We can't publish the full version. We have therefore selected 3 of the most beautiful passages. The full recording is available on youtube music and on all main music streaming platforms** : youtube.com/watch?v=ZdZm8IMEWWQ&list=OLAK5uy_lM6heo_Ti17KdGKgu3QJ2utK3dLUOGI-g

Soprano: Netania Davrath
Conductor: Pierre de la Roche (anonymous name)
Recorded in 1961-63
New mastering in 2022 by AB for CMRR
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To discover urgently, this cycle of popular song from Auvergne (region of France) realized at the beginning of the 60s is absolutely magnificent and deserves to be much more known. We hope that this post as well as your sharing will help its visibility. Netania Devrath's recording is remarkable for its timbre and phrasing. The Ukrainian (an Israeli woman of Ukrainian origin) soprano has worked on the pronunciation of the Auvergne language, which she seems to enjoy every syllable. The orchestra sometimes lacks fullness and depth but has the merit of sounding authentic without mannerism.

Joseph Canteloube (1979-1957) studied with Vincent d'lndy. His compositions gained him eminence in French musical life, and his folk music researches and arrangements added treasures to the heritage of song. His settings of the Songs of the Auvergne are classics of their kind. The first four books appeared during the 1920s and the fifth book appeared in 1955. The lovely folk tunes are handled like gems, and their purity is further enhanced by the orchestral settings, which capture, with the art of the modern orchestrator, the feeling and spirit of the old shepherd's pipe, hurdy-gurdy and bagpipe. The songs are mainly love songs, some playful and some suffused with pathos, but one also gets from them the feeling of the Auvergne itself, and the hills where for generations cattle and sheep raising was the people's occupation. Click to activate the English subtitles for the presentation (00:00-03:14)

Songs of Andalusia: Middle Ages and Renaissance (Century's rec.: Victoria de Los Ángeles / Gispert): youtube.com/watch?v=esa06xn8-EM

Traditional Music PLAYLIST (reference recordings): youtube.com/playlist?list=PL3UZpQL9LIxM-yBzFbqMAyhq5dNG86WsF

Delius - Summer Evening, Florida Suite & Orchestral Works / REMASTERED (Ct.rc.: Sir Thomas Beecham)

Classical Music/ /Reference Recording 2022-08-16 | Frederick Delius (1862-1934) Beautiful Orchestral Works / REMASTERED
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00:00 Florida Suite - I. Daybreak, Dance (Remastered 2022)
10:23 Florida Suite - II. By the River (Remastered 2022)
17:38 Florida Suite - III. Sunset, Near the Plantation (Remastered 2022)
27:23 Florida Suite - IV. At Night (Remastered 2022)
35:00 Summer Evening (Remastered 2022)

The full album available on youtube music and on the main streaming platforms through the links above: youtube.com/watch?v=1Cm0Uem16ZQ&list=OLAK5uy_n5sl6ALS4i-GFlhPujbTLpwvs3W0J5MdQ

Sleigh Ride (Winternacht) (Remastered 2022)
Over the Hills and Far Away (Remastered 2022)
Brigg Fair: An English Rhapsody (Remastered 2022)
Marche Caprice (Remastered 2022)
Dance Rhapsody No. 2 (Remastered 2022)
On hearing the first Cuckoo in Spring - Two Pieces for small Orchestra (Remastered 2022)
Summer Night on the River - Two Pieces for small Orchestra (Remastered 2022)
A Song before Sunrise (Remastered 2022)
Fennimore and Gerda: lntermezzo (Remastered 2022)
Irmelin Prelude (Remastered 2022)

Royal Philharmonic Orchestra
Conductor: Sir Thomas Beecham
Recorded in 1957-60
New mastering in 2022 by AB for CMRR
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Sir Thomas Beecham is Frederick Delius' major performer. As an instrumental introduction we recommend the magnificent "Florida Suite" (00:00; 03:29; 10:49; 13:40; 17:50; 31:28…) or in 35:00 "Summer Evening". In the case of Delius / Beecham, we could say that they have an equal role and this is certainly what makes the difference between the 'creative performer' and the simple performer (plays notes without daring to take more risk than following the score).

This is perhaps an appropriate moment to make the point that in general terms Beecham hardly ever tampered with the notes of a Delius score: what he did was to alter or modify practically every one of Delius's expression marks, and his dynamic marks as well, before introducing his own interpretative ideas: and while these are more easily appreciated by the ear with the aid of a score than explained in words, there are some striking examples in Songs of Sunset: in the song 'Exceeding Sorrow', for instance, as the singer reaches the word 'silence' in the line 'Let a pale silence prevail' Beecham suddenly reduces the orchestral strings to a whisper with magical effect; and in the solo for the baritone, 'By the sad waters of separation', he uses a distinctly slower speed for the long central passage, only reverting to the original tempo at the words 'If you be dead'. Then in On hearing the First Cuckoo in Spring, which with its companion piece Summer Night on the River was his next Delius discovery, there is a passage where he would sometimes transfer on to solo instruments notes which the score indicates should be played by all the violas and cellos in the orchestra. But with his command over the orchestra, and the ease of his style, all these adjustments come across with perfect naturalness.

The whole question of his approach to Delius's music was touched on once in an interview he gave to Edmund Tracey, who was trying to find out the reasons for Beecham's so-called 'special understanding' of this elusive music. But when he supposed that Beecham had discussed Delius's scores often with him the conductor replied that he had never done so: 'Why should l? He couldn't tell me anything about them...! What occasionally happened was that I would say to him, "Now, Frederick, I want to ask you what you want done here": and he would say "Well, I can't remember now so do anything you like with it..." Then when he heard them on the radio or in the concert-room he'd say. "That's the way I want it. Don't change that..."'

The full album available on youtube music and on the main streaming platforms through the links above: youtube.com/watch?v=1Cm0Uem16ZQ&list=OLAK5uy_n5sl6ALS4i-GFlhPujbTLpwvs3W0J5MdQ

Elgar - Enigma Variations / REMASTERED (Centurys rec.: Pierre Monteux, London Symphony Orchestra)

Classical Music/ /Reference Recording 2022-08-13 | Sir Edward Elgar (1857-1934) - Enigma Variations by Pierre Monteux / REMASTERED.
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Sir Edward Elgar (1857-1934) - Enigma Variations by Pierre Monteux / Remastered.
*Click to activate the English subtitles for the presentation* (00:00-03:33)
Enigma Variations Op.36
00:00 Theme
01:15 Variation I : C.A.E.
03:12 Variation II : H.D.S.-P
03:59 Variation III : R.B.T.
05:21 Variation IV : W.M.B.
05:48 Variation V : R.P.A.
07:43 Variation VI : YSOBEL
09:02 Variation VII : TROYTE
09:59 Variation VIII : W.N.
11:53 Variation IX : NIMROD
15:42 Variation X : DORABELLA
18:21 Variation XI : G.R.S.
19:16 Variation XII : B.G.N.
21:42 Variation XIII : ***
24:20 Variation XIV : E.D.U.

London Symphonic Orchestra (error on the image title)
Conductor: Pierre Monteux
Recorded in 1958, at London
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Unhappy with London, where they had settled after their marriage, Elgar and his wife returned to Malvern in 1891. Having settled into a comfortable home, they led a happy life, and Elgar experienced the most creative period of his life. The high point of his activity was, after ten years, a piece called Enigma Variations (or "Variations on an Original Theme") Op. 36.

His circle of friends had expanded. Those who served as models for the musical portraits that make up the Enigma Variations were part of his immediate circle: together they played chamber music, golf, went on vacation, rode bicycles or went fox hunting. The idea for the Variations came to Elgar by chance one evening in October 1898. His cantata Caractacus had just been performed at the Leeds Festival, and he was sitting at the piano, tapping out a melody without thinking about much: his wife asked him what he was playing; "nothing," he replied, "but perhaps something might come of it. To amuse her, he launched into an improvisation, trying to caricature some of his friends as he went along: "Here is Powell at the piano" he said, imitating the way this friend, a member of the same trio as himself, was carried away by passion when he played. It was then the turn of the cellist "Billy" Baker, a noisy and somewhat boastful character.

The process of variation is indeed as old as music itself, but no musician had ever used it to depict, by making the same theme undergo successive transformations, the characters of human beings very different from each other. In its simplicity, this idea was to produce wonderful effects. Some time later, Elgar explained his intentions in a letter to his regular confidant, August Jaeger, a German employed at a London music publishing house, Novello:

"I have sketched out a series of variations (...) on an original theme: this work has amused me because I have given them as titles the nicknames I have chosen for some of my friends - yours is Nimrod, I have written each of the variations with the intention of representing the character of the individuals who have served as my models; my procedure has been to imagine the variation as I think they themselves would have written it - if they had been foolish enough to engage in such an exercise. It's an odd idea, the result will be fun for those who are in the know and won't affect those who are not. What do you think?"

He worked very quickly and immediately began to judge the effect of his findings by playing them on the piano to his various friends. The orchestral score was completed in February 1899. At the premiere in London in June, the work was an immense success with the English public, which was to prove long-lasting. *Click to activate the English subtitles for the presentation* (00:00-03:33)

Elgar - Enigma Variations (Century's recording: Sir John Barbirolli, Philharmonia Orchestra)
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Edward Elgar PLAYLIST (reference recordings): youtube.com/playlist?list=PL3UZpQL9LIxMNnNaMjV-GnzwKtcaU10fB

Elgar - Pomp and Circumstance: March No. 4, March No. 1 / Nimrod (Ct.rc.: S.J.Barbirolli REMASTERED)

Classical Music/ /Reference Recording 2022-08-12 | Sir Edward Elgar (1857-1934) - Enigma Variations / Pomp and Circumstance Marches.
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00:00 Pomp and Circumstance: March No. 4 in G Major Op. 39 (Remastered 2022, Version 1962)
05:20 Pomp and Circumstance: March No. 1 in D Major Op. 39 (Remastered 2022, Version 1962)
11:57 Enigma Variations - Variation IX : NIMROD

The complete remastered edition is available on youtube music and on all major music streaming platforms: youtube.com/watch?v=uAPAas41tOg&list=OLAK5uy_nO11gS32Iq1H5-JTWOdnYQeJhqmLJKpvY&index=1

Sir John Barbirolli
Recorded in 1962, at London
New Mastering in 2020 by AB for CMRR
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The Pomp and Circumstance Marches (full title Military Pomp and Circumstance Marches), Op. 39, are a series of five (or six) orchestral marches composed by Sir Edward Elgar. The first four were published between 1901 and 1907, when Elgar was in his forties; the fifth was published in 1930, a few years before his death; and a sixth, compiled posthumously from sketches, was published in 1956 and 2005-2006. They include some of Elgar's best-known compositions.

The March issue #4 (1907) is as lively and ceremonial as #1. At the wedding of Charles, Prince of Wales, and Lady Diana Spencer, Pomp and Circumstance No. 4 served as a recessional. As Diana's veil was lifted and the couple bowed and curtsied to Queen Elizabeth II , the opening notes rang out and continued as they walked down the aisle of St. Paul's Cathedral to the portico and the waiting crowd.

The best known of the six marches, Pomp And Circumstance March No. 1 In D was premiered in Liverpool on October 19, 1901, with Alfred Rodewald conducting the Liverpool Orchestral Society. Elgar and his wife attended and it was a "frenetic" success.
In Canada, the Philippines, and the United States, the Trio section "Land of Hope and Glory" is often known simply as "Pomp and Circumstance" or "The Graduation March" and is played as a processional tune at virtually all high school and university graduation ceremonies.

Enigma Variations, named after Variations on an Original Theme ("Enigma"), Op. 36, a series of 14 short musical portraits by Edward Elgar that premiered in London on June 19, 1899. The best known of these variations is the serene Variation No. 9, identified by the composer as "Nimrod". The name is a play on words, as the biblical Nimrod was a great hunter, and the German word for "hunter" is Jaeger. This lyrical movement describes a warm conversation between the composer and his friend Jaeger, who, according to Elgar, offered valuable artistic advice throughout a long collaboration.

Vaughan Williams by Sir John Barbirolli:
Fantasia on a theme by Thomas Tallis, Fantasia on "Greensleeves" & Orchestral Works
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Vivaldi - Concerto No. 2 Summer RV 315 / The 4 Seasons (rf.rc.: Felix Ayo, I Musici, B. Molinari)

Classical Music/ /Reference Recording 2022-08-10 | Antonio Vivaldi (1678-1741) Le Quattro Stagioni by Felix Ayo / Remastered.
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00:00 Concerto No. 2 « Summer » RV 315 in G minor - I. Allegro non molto (Remastered 2022)
05:18 Concerto No. 2 « Summer » RV 315 in G minor - II. Adagio, Presto (Remastered 2022)
07:41 Concerto No. 2 « Summer » RV 315 in G minor - III. Presto: Tempo impetuoso d’Estate (Remastered 2022)

I musici
Violin/Conductor: Felix Ayo
Recorded in 1959
New mastering in 2022 by AB for CMRR

Antonio Vivaldi (1678-1741) Le Quattro Stagioni by Bernardino Molinari / Remastered.
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10:35 Concerto No. 2 « L’Estate » RV 315 in G minor - I. Allegro non molto (Remastered 2022)
15:54 Concerto No. 2 « L’Estate » RV 315 in G minor - II. Adagio, Presto (Remastered 2022)
18:28 Concerto No. 2 « L’Estate » RV 315 in G minor - III. Presto: Tempo impetuoso d’Estate (Remastered 2022)

Orchestra dell'Accademia Nazionale di Santa Cecilia
Conductor: Bernardino Molinari
Recorded in 1942
New mastering in 2022 by AB for CMRR
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Vivaldi's Four Seasons is truly a masterpiece of the "program music" repertoire. The four violin concertos that make up this work paint each of the seasons with their own colors and atmosphere in a delicate and nuanced way. Each of the four concertos is preceded by a poem, a sonnet of fourteen verses, depicting the atmosphere and the various events of the concerto itself. Each of the verses or stanzas is marked with a letter (from A to G for the 'Spring', and from A to N for the 'Winter', which is full of details and descriptions); these letters and the verses themselves of the poem are also found on the score. There are some additional indications in the score, such as "birdsong" at the moment when the solo violin makes its first appearance in the 'Spring' and "overwhelming summer languor" at the beginning of the 'Summer'.

These sonnets are not signed, however, and it is not known who wrote them. Although it seems that Vivaldi knew many poets who could have composed these sonnets, it is generally believed that he himself was the author and that he wanted to write the program of his music himself. Whatever the truth, the sonnets and the music form an inseparable whole. In the printed score, each of the poems is indicated as 'Sonetto dimostrativo' which means explanatory sonnet.

Summer" (Concerto No. 2 in G minor)
I. Allegro non molto
A - During the whole season when the burning sun reigns mercilessly
Man languishes, the cattle languish and the pines catch fire
B - The cuckoo makes its voice heard, and at once with one accord
C - The dove and the goldfinch sing.
D - A gentle zephyr (gentle/pleasant wind) blows but suddenly
The north wind then provokes his neighbor to a fight
E - The young shepherd begins to cry, because he fears
The threatening storm and the fate that awaits him:

II. Adagio/Presto
F - For he dreads the lightning and the violent thunder
As well as the furious roar of the swarms of mosquitoes and wasps!
Preventing him from resting and relieving his weary limbs

III. Presto
G - Alas, his fears are only too well founded,
From the sky thunder, lightning and hail resound
That decimates the ears of corn and the proud stems.

*** COMPLETE PRESENTATION: LOOK THE FIRST PINNED COMMENT ***

Antonio Vivaldi PLAYLIST (references recordings): youtube.com/playlist?list=PL3UZpQL9LIxM9n3TIyfonkG5WJ8RduS1A

Bruch: Kol Nidrei, Op. 47 by Pierre Fournier (Remastered) / Presentation

Classical Music/ /Reference Recording 2022-08-08 | Max Bruch (1838-1920) Kol Nodrei Op. 47 by Pierre Fournier / Remastered Edition
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Beethoven - Piano Concertos Nos. 2,3 (Live) / NEW MASTERING (Ct.rc.: Glenn Gould, Paul Paray)

Classical Music/ /Reference Recording 2022-08-06 | Ludwig Van Beethoven (1770-1827) Piano Concertos Nos. 2,3 by Glenn Gould (Live)
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00:00 Piano Concerto No. 2 in B flat Major, Op. 19 - I. Allegro con brio (Live 1960)
14:05 Piano Concerto No. 2 in B flat Major, Op. 19 - II. Adagio
22:03 Piano Concerto No. 2 in B flat, Op. 19 - III. Rondo, Molto allegro
28:06 Piano Concerto No. 3 in C minor, Op. 37 - I. Allegro con brio (Live 1962)
44:09 Piano Concerto No. 3 in C minor, Op. 37 - II. Largo
52:53 Piano Concerto No. 3 in C minor, Op. 37 - III. Rondo, Allegro

Piano: Glenn Gould
Detroit Symphony Orchestra
Conductor: Paul Paray
Live recordings in 1960 & 1962
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If you listen carefully to these recordings, Glenn Gould is singing all the time while playing (even more so during the recording of the 3rd concerto). Even though this great artist is best known for his legendary interpretations of Bach, he is nevertheless an excellent "Beethovenian". He began playing the piano at the age of three with his mother and attended classes (1943-52) at the Toronto Conservatory with Alberto Huerrero. He also studied the organ and at the age of fourteen participated in an international competition for organists. That same year he performed Beethoven's Piano Concerto No. 4 for the first time in public with the Toronto Symphony Orchestra. In 1955 in New York, he signed a contract with Columbia Records. In 1957, he was the first Canadian pianist invited by the Soviet government to Moscow and Leningrad, where he triumphed with Bach's Goldberg Variations. At the age of thirty-two, he gave up performing and withdrew into solitude, even though his name was as well known in America as Bernstein's. {He now plays only for the record. A lecturer at the University of Toronto, founder and director of a chamber music association that creates new works, this pianist knows all the techniques of recording. His repertoire ranges from Bach to Schoenberg, his interpretation is always renewed and original; it is based on a very personal technique linked to his position in front of the keyboard, much lower than that of his colleagues. Click to activate the English subtitles for the presentation (00:00-02:07)

Bach - Goldberg Variations / Studio recording 1955 REMASTERED (recording of the Century: Glenn Gould): youtube.com/watch?v=2RXZGklAMzs&list=OLAK5uy_kr4Sl9U0IFzA3Iwxz62s5QzbLUNEqo_ow

Bach - Goldberg Variations / Live recording 1959 REMASTERED (recording of the Century: Glenn Gould): youtube.com/watch?v=QvyOXoD28mg&list=OLAK5uy_ngSbGZYEPyRTMgOxKctoto7QQBDiwGbQM

Ludwig Van Beethoven PLAYLIST (reference recordings): youtube.com/playlist?list=PL3UZpQL9LIxOhkdci2M8WKMSVaf9WiF8x

Shostakovich - Cello Sonata in D minor, Op. 40 (ref.record.: Daniil Shafran, Lydia Pecherskaya)

Classical Music/ /Reference Recording 2022-08-04 | Dmitri Shostakovich (1906-1975) Cello Sonata by Daniil Shafran / Remastered.
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00:00 Cello Sonata in D minor, Op. 40 - I. Allegro non troppo
08:37 Cello Sonata in D minor, Op. 40 - II. Allegro
11:45 Cello Sonata in D minor, Op. 40 - III. Largo
19:46 Cello Sonata in D minor, Op. 40 - IV. Allegro

Cello: Daniil Shafran
Piano: Lydia Pecherskaya
Recorded in 1960
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Texas University / Department Music: Dmitri Shostakovich wrote his Cello Sonata in 1934, a crucial date regarding developments in Soviet cultural history, Shostakovich’s compositional style, and his personal life. Stalin’s government had begun to promote the artistic doctrine of Socialist Realism, which, in typically vague bureaucratic language, called for accessible musical styles that resonated with everyday experiences of Soviet citizens. In response to official demands, Shostakovich had started to experiment with a new simplicity which would not, however, regress into unoriginal, old-fashioned styles. At the same time, Shostakovich was attracting international fame with his opera Lady Macbeth of the Mtsensk District, which enjoyed a certain succès de scandale in Russia and the West because of its shocking subject matter and explicit musical depiction of adultery. This success was abruptly curtailed, however, after the publication in 1936 of a notorious article in the national journal Pravda, whose anonymous author, rumored to be Stalin or a close associate, denounced Lady Macbeth of the Mtsensk District as “chaos instead of music.”

This article had a devastating effect on Shostakovich’s livelihood. His compositions were quietly removed from concert programs, most of his friends were too afraid to defend him, and his promising career as an opera composer was over. While Stalin’s officials harshly criticized almost all Shostakovich’s compositions from the mid-1930s, the Cello Sonata was, interestingly, never suppressed. This treatise will investigate why. Was it because chamber music, having no plot or text, is less scandalous than opera? Or did the Cello Sonata contain some evidence of the elusive principles of Socialist Realism? This treatise has four chapters. The first two will introduce the historical and cultural situation in Russia in the 1930s, detailing the problematic challenges Soviet composers faced in trying to incorporate Socialist Realist requirements into their music. The third chapter presents an analytical overview of the four movements of the Cello Sonata, discussing their form and stylistic features in relation to Socialist Realism. The final chapter addresses whether the Cello Sonata is truly representative of Socialist Realist philosophy, and why, during the cultural purges of Stalin’s Terror, the Cello Sonata never attracted negative official comment.

Franz Schubert (1797-1828) Arpeggione Sonata by Daniil Shafran / Remastered.
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Dmitri Shostakovich PLAYLIST (reference recordings): youtube.com/playlist?list=PL3UZpQL9LIxOGmNLwRgFpWT1dJqSVrsgI

Japanese Traditional Music, Nagauta 日本の伝統音楽 + Presentation (Centurys recording: Kineya Ensemble)

Classical Music/ /Reference Recording 2022-08-02 | Japanese Traditional Music, Nagauta 日本の伝統音楽 . The essence of the poetical evoking power of nagauta (kabuki theatre accompaniment music), played by the Kineya ensemble, one of the best Japanese chamber orchestra, which incluses voices, shamisen lutes, fue flute, and kotsuzumi, otsuzumi and taiko drums.
00:00 Reimei (First Rays of Sunrise)
11:54 Niwaka Jishi (The Lion Dance at the Feast of Yoshiwara)
27:19 Ninin Wankyû (The Transports of Wankyû)
58:32 Kurama Yama (Mount Kurama)

Kineya Ensemble
Recorded in 1997, at Japan
New mastering in 2022 by AB for CMRR
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The Nagauta. Towards the middle of the 16th century, the introduction of the shamisen (three-stringed lute) into Japan from China, by way of the islands of Ryûkyû (in the South), completely changed urban music by giving two new orientations to its development, one melodic and the other narrative. It was then that appeared vocal forms with a melodic character like Jiuta, Nagauta, Kouta or Utawaza, and others with a narrative character like Gidaiyû, Tokiwazu or Kiyomoto, forms which were to be naturally integrated into Bunraku puppet theatre and the sung and danced theatre of Kabuki. The shamisen which accompanies these different vocal forms became the symbolic instrument of thriving urban class which, in acquiring its own musical forms, was differentiating itself from a ruling military class whose principal genres were Nö (masked theatre with song and dance), Gagaku (court music) and Shômyô (Buddhist liturgical chant).

The Nagauta (lengthy song) featured on this recording derived originally from the Jiuta, a form of singing which evolved progressively. Originally, Jiuta was a suite of short sung poems accompanied on the shamisen. But, towards the end of the 17th century, Jiuta in the form of long rhythmic poems also began to be sung. At the same time, Edo (Tôkyô) musicians, influenced by Nö and Joruri, began to sing long dramatic narratives "Edo Nagauta", which Kabuki theatre was quick to use in dance scenes, accompanied by an instrumental ensemble of shamisen, Nô flute and three types of Nö drum. In the 19th century yet another form of Nagauta called "Zashiki-Nagauta" (Concert-hall Nagauta), an autonomous vocal form which, played in concert, tended to detach itself from Kabuki, and continually perfect and refine its vocal and instrumental techniques.

Several highly talented artists have got together around Katsukuni and Naokichi Kineya to form the Nagauta Ensemble. All of them have the same wish: to give a fresh impulse to this traditional style of music. Katsukuni Kineya has become famous as a solo shamisen player because of his outstanding technique and musicality. As for Naokichi Kineya, he is renowned as a singer for his delicate melisms. The other members of the group are young artists — shamisen players or other instrumentalists who play traditional Japanese instruments, and singers — who have broken with the theatre tradition of Nagauta, and developed a new style of playing which is more adapted to the musical tastes and aesthetics of today.

Korean Traditional Music, Gugak 국악 상 음악 + Presentation (Century’s recording : The National Center): youtu.be/2Zn2LXE-yMk

Traditional Music/ /Reference Recording PLAYLIST : youtube.com/playlist?list=PL3UZpQL9LIxM-yBzFbqMAyhq5dNG86WsF

Mozart - Violin Sonata in B flat Major K 454 (No.32) (Centurys rec.: Clara Haskil, Arthur Grumiaux)

Classical Music/ /Reference Recording 2022-07-30 | Wolfgang Amadeus Mozart (1756-1791) The Violin Sonatas by Haskil & Grumiaux / Remastered.
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00:00 Violin Sonata in B flat Major K. 454 - I. Largo, Allegro (Remastered 2021)
07:14 Violin Sonata in B flat Major K. 454 - II. Andante (Remastered 2021)
15:23 Violin Sonata in B flat Major K. 454 - III. Allegretto (Remastered 2021)

The remastered compilation of all the sonatas performed by Haskil/Grumiaux is available on youtube music (youtube.com/playlist?list=OLAK5uy_njlmw9y1qHz_D4ZEp6ZrEz5hJgzpDcBmU) or on the main platforms by clicking on the links above.

Violin: Arthur Grumiaux
Piano: Clara Haskil
Recorded in 1956, at Basel
New mastering in 2021 by AB for CMRR
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***COMPLETE PRESENTATION: LOOK THE FIRST PINNED COMMENT***

Unlike Joseph Haydn, for one, Mozart had a close personal relationship to the violin. Trained according to the precepts of his father's celebrated violin tutor, which appeared in 1765, he soon developed into an excellent violinist. His ambitions as a violinist were stimulated by his contact with the foremost virtuosos of his age. True, he admitted in a letter of November 22, 1777 that he was "no great lover of difficulties," and the technical demands of his violin compositions — the sonatas and the five violin concertos that he composed in 1775 for himself and for the Salzburg violinist Antonio Brunetti — do, in fact, mostly remain within certain limits. But during his time as leader of the Salzburg orchestra, if not earlier, he acquired an intimate understanding of the special idiom of the instrument.

In April 1784 the Italian violinist Regina Strinasacchi, then aged 20, visited Vienna. For her "academy" on April 29 Mozart wrote in the obligatory haste, his Sonata in B flat K. 454. He handed over the violin part to his fellow artist only on the evening before the concert. There was no time left to notate the keyboard part. However, Mozart managed the feat of performing it virtually extempore. At the concert he played just from a barren sketch containing a few annotations concerning accompanimental figures and modulations. Remarkably, the experiment succeeded. As a Viennese newspaper reported, the new sonata was received, in the presence of the Emperor, with "general approval."

Mozart's very high opinion of Regina Strinasacchi ("Her playing possesses much taste and sensitivity") was confirmed a year later by his father Leopold after a concert in Salzburg: "She puts her whole heart and soul into the melody she plays, and her tone-quality and strength of tone are equally fine. Indeed, I find that a talented woman plays more expressively than a man."

In Alfred Einstein's words, one passes "as if through a triumphal arch" from an impressive Largo to the main Allegro section of the first movement, which places the two partners in an absolutely ideal balance. The principle of dialogue, already present in earlier sonatas,
is now developed further in masterly fashion. However, the concertante element which (in tribute to the excellent young violinist) informs both the opening movement and the rondo with its brilliant coda also deserves mention.

Beethoven - Die Sonaten für Klavier und Violine (Century’s rec.: Clara Haskil, Arthur Grumiaux)
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Wolfgang Amadeus Mozart (1756-1791) PLAYLIST (references recordings): youtube.com/playlist?list=PL3UZpQL9LIxMe6H3Sfn2lvPVFzrvhhPO7

Ravel - Le Tombeau de Couperin, Gaspard de la Nuit / Remastered (Ct.rc.: Samson François 1958)

Classical Music/ /Reference Recording 2022-07-28 | Maurice Ravel (1875-1937) Gaspard de la Nuit, Le Tombeau de Couperin 1958.
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Click to activate the English subtitles for the presentation (00:00-03:05)
Le Tombeau de Couperin, M. 68
00:00 I . Prélude, Vif "à la mémoire du lieutenant Jacques Charlot" (R.2022, Version 1958)
02:00 II. Fugue "à la mémoire du sous-lieutenant Jean Cruppi" (R.2022, Version 1958)
05:57 III. Forlane "à la mémoire du lieutenant Gabriel Deluc" (Remastered 2022, Version 1958)
10:17 IV. Rigaudon "à la mémoire de Pierre et Pascal Gaudin" (Remastered 2022, Version 1958)
12:53 V. Menuet "à la mémoire de Jean Dreyfus" (Remastered 2022, Version 1958)
16:17 VI. Toccata "à la mémoire du capitaine Joseph de Marliave" (R.2022, Version 1958)

Gaspard de la nuit after Aloysius Bertrand, M. 55
19:51 Ondine: Lent (Remastered 2022, Version 1958)
27:13 Le Gibet: Très Lent (Remastered 2022, Version 1958)
32:20 Scarbo: Modéré, Vif (Remastered 2022, Version 1958)

Piano: Samson François
Recorded in 1958
New mastering in 2022 by AB for CMRR
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Le Tombeau de Couperin. Ravel achève la composition du Tombeau de Couperin, un cycle dédié au piano, en novembre 1917. Cet hommage à la musique française du XVIIIe siècle comprend six parties : Prélude, Fugue, Forlane, Rigaudon, Menuet et Toccata. A l’origine de ce Tombeau (Ravel a dessiné de sa main une urne funéraire qui est imprimée sur la page de couverture de l’édition originale), le musicien rend hommage aux morts tombés à la guerre. Par ailleurs, il évoque le raffinement du classicisme français, celui de Rameau et des Couperin. Le propos de Ravel est donc de magnifier le Grand Siècle qu’il vénérait.

L’oeuvre s’ouvre par le Prélude. Le tempo est “vif”. Le pianiste Vlado Perlemuter, qui étudia auprès de Ravel, raconta que celui-ci souhaitait que le clavier suggère le son du hautbois. Forlane (allegretto) offre une danse plus stricte que la précédente. Le doux balancement des pas et le croisement des danseurs sont à peine contrariés par les stridences mesurées des vents.

Le Menuet (allegro moderato) est d’une inspiration mélodique plus contemporaine, typique des harmonies des années vingt. Presque anodine, cette page devient subitement plus grave. Nous quittons l’univers de la chorégraphie pour le dessin d’un tableau historique empreint de nostalgie avant de revenir à l’élégance du mouvement initial. Le Rigaudon (assez vif) s’amuse de manière ironique, mais toutefois de courte durée. Le rythme impose ensuite une danse villageoise à la carrure solide et dont les sonorités appartiennent sans réserve à l’écriture du début du XXe siècle.

Gaspard de la nuit. Un triptyque pour piano de Maurice Ravel composé en 1908 d'après trois poèmes extraits du recueil éponyme d'Aloysius Bertrand. Sa noirceur et son extrême difficulté en ont fait une des œuvres les plus emblématiques de son auteur.

- Ondine, conte d'une nymphe des eaux apparaissant à la fenêtre d'un humain.
- Le Gibet, dernières impressions d'un pendu qui assiste au coucher du soleil.
- Scarbo, petit gnome diabolique et farceur, porteur de funestes présages apparaissant en songe au dormeur.

***COMMENTAIRE COMPLET: VOIR PREMIER COMMENTAIRE ÉPINGLÉ.***

Lettre de Maître Alfred CORTOT adressée à Monsieur FRANÇOIS Maurice en date du 3 février 1935 : "Cher Monsieur, Je ne puis que vous confirmer ce que je vous ai dit à Nice après avoir entendu votre jeune fils. Il me parait indispensable au développement de ses remarquables facultés musicales qu’il suive à Paris soit les cours de l’École normale de musique, soit au Conservatoire. Je sais que c’est un gros sacrifice que vous devez sans doute vous imposer en prenant cette résolution, mais c’est la carrière tout entière de votre enfant qui est en jeu et je sais que pour un père, c’est un argument décisif. Veuillez, je vous prie, cher Monsieur croire à mes meilleures sentiments."

Maurice Ravel (1875-1937) The Piano Concertos by Samson François / Remastered
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Maurice Ravel PLAYLIST (reference recordings): youtube.com/playlist?list=PL3UZpQL9LIxMn2Jpn2cTfi8HDvB5XMeQ5

Schumann - Kinderszenen, Op. 15 / Remastered (Centurys recordings: Yves Nat 1952 & 1930)

Classical Music/ /Reference Recording 2022-07-26 | Robert Schumann (1810-1856) by Yves Nat: Complete Piano Works / Remastered.
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00:00 Kinderszenen Op. 15 - I. Von fremden Ländern und Menschen (R.2022, Version 1952)
01:28 Kinderszenen Op. 15 - II. Kuriose Geschichte (Remastered 2022, Version 1952)
02:18 Kinderszenen Op. 15 - III. Hasche-Mann (Remastered 2022, Version 1952)
02:47 Kinderszenen Op. 15 - IV. Bittendes Kind (Remastered 2022, Version 1952)
03:31 Kinderszenen Op. 15 - V. Glückes genug (Remastered 2022, Version 1952)
04:44 Kinderszenen Op. 15 - VI. Wichtige Begebenheit (Remastered 2022, Version 1952)
05:29 Kinderszenen Op. 15 - VII. Träumerei (Remastered 2022, Version 1952)
07:30 Kinderszenen Op. 15 - VIII. Am Kamin (Remastered 2022, Version 1952)
08:52 Kinderszenen Op. 15 - IX. Ritter vom Steckenpferd (Remastered 2022, Version 1952)
09:14 Kinderszenen Op. 15 - X. Fast zu ernst (Remastered 2022, Version 1952)
10:55 Kinderszenen Op. 15 - XI. Fürchtenmachen (Remastered 2022, Version 1952)
12:22 Kinderszenen Op. 15 - XII. Kind im Einschlummern (Remastered 2022, Version 1952)
14:03 Kinderszenen Op. 15 - XIII. Der Dichter spricht (Remastered 2022, Version 1952)

16:02 Kinderszenen Op. 15 - I. Von fremden Ländern und Menschen (R.2022, Version 1930)
16:50 Kinderszenen Op. 15 - II. Kuriose Geschichte (Remastered 2022, Version 1930)
17:40 Kinderszenen Op. 15 - III. Hasche-Mann (R.2022, Version 1930)
18:06 Kinderszenen Op. 15 - IV. Bittendes Kind (R.2022, Version 1930)
18:47 Kinderszenen Op. 15 - V. Glückes genug (R.2022, Version 1930)
19:24 Kinderszenen Op. 15 - VI. Wichtige Begebenheit (R.2022, Version 1930)
20:00 Kinderszenen Op. 15 - VII. Träumerei (R.2022, Version 1930)
21:56 Kinderszenen Op. 15 - VIII. Am Kamin (R.2022, Version 1930)
22:28 Kinderszenen Op. 15 - IX. Ritter vom Steckenpferd (R.2022, Version 1930)
22:50 Kinderszenen Op. 15 - X. Fast zu ernst (R.2022, Version 1930)
23:40 Kinderszenen Op. 15 - XI. Fürchtenmachen (R.2022, Version 1930)
24:51 Kinderszenen Op. 15 - XII. Kind im Einschlummern (R.2022, Version 1930)
26:21 Kinderszenen Op. 15 - XIII. Der Dichter spricht (R.2022, Version 1930)

Piano: Yves Nat
Recorded in 1952 & 1930
New mastering in 2022 by AB for CMRR
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The Kinderszenen is the first significant piece of instrumental music inspired by impressions of childhood. Why did Schumann devote an entire cycle to this subject? What gave the decisive impulse to the composition? It is well known that memories of the young Clara Wieck (whom Robert first met at the age of nine) played a part in it. The autobiographical aspect is just one side of the question. The other one is, once more, literature and poetry. An examination of the readings, diaries, fictional and critical writings of Schumann in the decade preceeding the composition of the Kinderszenen (1828-1838) reveals his constant interest in the romantic cult of childhood. Through Jean Paul, Hoffmann (in the light of the Hoffmann fictions), the composer built a symbolic conception of childhood which defined quite exactely his ideal of poetic music: depth at the heart of simplicity. These two aspects of the genesis (in a larger sense) of the Kinderszenen are intimately connected. Firstly because Schumann projected literary images on the Wunderkind who seemed to be the incarnation of a romantic ideal. Secondly because Clara possessed the purity which, in the aesthetics of Hoffmann, was a moral a priori for every great creation. Schumann felt unworthy of her and aimed to return with her help to the lost paradise of innocence.

Yves Nat's "Kinderszenen" are obviously exemplary. It is simple, learned, continuously poetic, speaks a language full of mystery and light. It is again a high translation of Schumann's thought. His first version (1930) is a miracle of interpretation. The man declared: "One must forget oneself completely in order for the music to be remembered". These recordings are the testimony of a man, an interpreter of very high lineage at the sole service of his art and of the composer he honors and whose most sincere truth he has pierced, like few others.

Schumann by Yves Nat: Complete Piano Works youtube.com/watch?v=d7bCMmutVO0&list=OLAK5uy_kcQsZ-sIN4GtD13Ac4pHn9GzC7XJHlEK4&index=2

Robert Schumann PLAYLIST (reference recordings): youtube.com/playlist?list=PL3UZpQL9LIxOoUF6exytTHfCssJcVdpZu

Schumann by Ives Nat: Complete Piano Works / Remastered

Classical Music/ /Reference Recording 2022-07-25 | Robert Schumann (1810-1856) - Complete Legendary Recordings by Master Yves NAT.
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Piano : Yves NAT
Recorded in 1930-55
New Mastering in 2017 by AB for CMRR
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🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
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Chopin - Cello Sonata in G minor, Op. 65 / Piano Trio in G minor, Op. 8 / The Chamber Music (rf.rc.)

Classical Music/ /Reference Recording 2022-07-23 | Frédéric François Chopin (1810-1849) The Chamber Music.
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Click to activate the English subtitles for the presentation (00:00-04:06)
00:00 Cello Sonata in G minor, Op. 65 - I. Allegro moderato
13:20 Cello Sonata in G minor, Op. 65 - II. Scherzo, Allegro con brio
17:27 Cello Sonata in G minor, Op. 65 - III. Largo
21:09 Cello Sonata in G minor, Op. 65 - IV. Finale: Allegro

26:32 Piano Trio in G minor, Op. 8 - I. Allegro con fuoco
37:13 Piano Trio in G minor, Op. 8 - II. Scherzo vivace
43:33 Piano Trio in G minor, Op. 8 - III. Adagio sostenuto
49:35 Piano Trio in G minor, Op. 8 - IV. Finale: Allegrett

Introduction et Polonaise brillante in C Major, Op. 3 youtube.com/watch?v=ozPQTww7CPU
Grand duo concertant sur des thèmes de Robert le diable, B.70 youtube.com/watch?v=BtxZETp9GKU

Piano: Anna Wesolowska
Violin: Barbara Górzyńska
Cello: Stanislas Firlej
Recorded in 1985
New mastering in 2022 by AB for CMRR
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During one of Franz Liszt's many dinners, Chopin met the famous cellist, Auguste Franchomme. After dinner, Franchomme took Chopin home, asked to listen to him, and then said he "understood him immediately. A beautiful friendship ensued. This, in a nutshell, is the story of the Grand Duo Concertant in E flat major on themes from Robert the Devil, composed in 1832 by the two musicians in collaboration.

Franchomme was also responsible for the last of Chopin's compositions to be published during his lifetime: the Sonata for Cello and Piano in G minor, Op. 65, written between 1846 and 1947. Despite his advanced illness and the resulting creative difficulties, this extraordinary work testifies to the possibilities of Chopin's genius, and traces the path he would have continued to follow had he not died prematurely in 1849. Click to activate the English subtitles for the presentation (00:00-04:06)

Chopin - Complete Polonaises, Heroïque, Militaire, Brillante, Fantaisie (rf.rc.: H.Czerny-Stefańska): youtube.com/watch?v=e0iI38KYnLs&list=OLAK5uy_nmunKa7YIsC6uyfI3v0hn2EtK00HQszKE

Frédéric François Chopin PLAYLIST (reference recordings): youtube.com/playlist?list=PL3UZpQL9LIxOd2d1F4YsbL4XLfB6zvRfj

Beethoven - Violin Concerto Op. 61 / Remastered (Centurys rec.: Nathan Milstein, Erich Leinsdorf)

Classical Music/ /Reference Recording 2022-07-21 | Ludwig Van Beethoven (1770-1827) Violin Concerto, Op. 61 by Nathan Milstein
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00:00 Violin Concerto in D Major, Op. 61 - I. Allegro ma non troppo (Remastered 2022)
21:43 Violin Concerto in D Major, Op. 61 - II. Larghetto (Remastered 2022)
31:10 Violin Concerto in D Major, Op. 61 - III. Rondo, Allegro (Remastered 2022)

Violin: Nathan Milstein
Philharmonia Orchestra
Conductor: Erich Leinsdorf
Recorded in 1961
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The baroque and classical concerto, which was the object of much attention throughout the 18th century, especially in Italy, the violin's home country, completed its long virtuoso journey with Mozart and his concertos of 1775, brilliant works with a youthful spirit, if not, in view of the master in question, youthful. There followed a fairly long period of rest, more favorable to the perfection of the new symphony, before the archetypal romantic concerto appeared with Beethoven's Opus 61, followed by other works, less numerous than those dedicated to the piano, but signed by the greatest names of romanticism, including Mendelssohn (the Paganini Concertos, more classical in form, being a case apart, because of the limited role of the orchestra).

Important modifications, not only in the field of the violin concerto, are then implemented, thematically, structurally, but above all in the balance between the soloist and the orchestra, the latter definitively becoming symphonic and no longer a simple harmonic support, taking up in ritornello the themes treated brilliantly by the virtuoso. This evolution of the romantic concerto towards the "symphony with principal violin" will continue until the Brahms Concerto (1879). The violin, in Beethoven as in his successors, will be just as virtuosic as before, and even more so, at the same time deeply integrated into the orchestral fabric. The pure virtuosos, of 'Paganinian' obedience, will not always appreciate this too equal sharing of skills between soloist and orchestra, such as Sarastre who, about Brahms' concerto, will say: ''Do you believe me to be so tasteless as to stand on the platform as a listener, violin in hand, while the oboe plays the only melody of the whole work?''

Beethoven's Concerto in D Major, Op. 61, reflects one of the happiest periods in the composer's life. Contemporary with the Fourth Symphony and the Razumovsky Quartets, it was inspired, among other positive events, by Beethoven's secret engagement to Therese of Brunswick. The work, almost a love song, was premiered in December 1806 by Franz Clement at the 'Theater an der Wien' in Vienna, which had witnessed the premiere of Mozart's 'The Magic Flute' in 1791, but had been rebuilt in the meantime and inaugurated in 1801 (Beethoven lived in the adjoining buildings in 1803 and composed 'Fidelio' there). The characteristic of this concerto comes from the fact that the orchestra, whose density is important, rarely opposes the soloist. The soloist, on the contrary, reinforces the orchestral discourse and its expression, which he permanently subordinates to his natural virtuoso gifts. Never before has this instrument known greater glory in its concertante role.

Mendelssohn: Violin Concerto in E minor, Op. 64 by Nathan Milstein: youtube.com/watch?v=jpCb1eUVSCg&list=OLAK5uy_mKKfhsLL1TgAb_S5RZQYSlAlTa3Yf4RZA

Ludwig Van Beethoven PLAYLIST (reference recordings): youtube.com/playlist?list=PL3UZpQL9LIxOhkdci2M8WKMSVaf9WiF8x

Mendelssohn - Violin Concerto in E minor, Op. 64 (Centurys recording: Nathan Milstein, Leon Barzin)

Classical Music/ /Reference Recording 2022-07-19 | Felix Mendelssohn-Bartholdy (1809-1847) Violin Concerto by Nathan Milstein / Remastered.
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00:00 Violin Concerto in E minor, Op. 64 - I. Allegro molto appassionato (Remastered 2022)
11:20 Violin Concerto in E minor, Op. 64 - II. Andante (Remastered 2022)
19:12 Violin Concerto in E minor, Op. 64 - III. Allegretto non troppo, Allegro molto vivace (Remastered 2022)

Violin: Nathan Milstein
Philharmonia Orchestra
Conductor: Leon Barzin
Recorded in 1960
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❤️ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) patreon.com/cmrr

The baroque and classical concerto, which was the object of much attention throughout the 18th century, especially in Italy, the violin's home country, completed its long virtuoso journey with Mozart and his concertos of 1775, brilliant works with a youthful spirit, if not, in view of the master in question, youthful. There followed a fairly long period of rest, more favorable to the perfection of the new symphony, before the archetypal romantic concerto appeared with Beethoven's Opus 61, followed by other works, less numerous than those dedicated to the piano, but signed by the greatest names of romanticism, including Mendelssohn (Paganini's Concertos, more classical in form, being a case apart, because of the limited role of the orchestra).

Important modifications, not only in the field of the violin concerto, are then implemented, thematically, structurally, but above all in the balance between the soloist and the orchestra, the latter definitively becoming symphonic and no longer a simple harmonic support, taking up in ritornello the themes treated brilliantly by the virtuoso. This evolution of the romantic concerto towards the "symphony with principal violin" will continue until the Brahms Concerto (1879). The violin, in Beethoven as in his successors, will be just as virtuosic as before, and even more so, at the same time deeply integrated into the orchestral fabric. The pure virtuosos, of 'Paganinian' obedience, will not always appreciate this too equal sharing of skills between soloist and orchestra, such as Sarastre who, about Brahms' concerto, will say: ''Do you think I am so tasteless as to stand on the stage as a listener, with the violin in my hand, while the oboe plays the only melody of the whole work?''

Mendelssohn's Concerto in E minor, Op.64, is comparable in orchestral size to Beethoven's, but significantly less developed. It remains one of the most seductive works of the entire concerto repertoire of the Romantic period: charming thematic invention, absolute clarity of writing, marvelously cantabile virtuosity of the solo part, without, however, departing from an elegant sobriety. The work was begun in 1838 but not completed until 1844. It was premiered at the Gewandhaus in Leipzig in 1845, in the absence of Mendelssohn, who was ill, by the famous violinist Ferdinand David. Fortunately, the composer was able to hear his work in 1847, still in Leipzig but by the young Joseph Joachim; one month later Mendelssohn died. Michel Roubinet

Beethoven - Violin Concerto, Op. 61 by Nathan Milstein: youtube.com/watch?v=KqbieGCO2-Y&list=OLAK5uy_mbbB-pQzvYyT51e07p_aiF33WPm72E5iw

Felix Mendelssohn PLAYLIST (reference recordings): youtube.com/playlist?list=PL3UZpQL9LIxNEOECwK4VjfNazYgWVbApx