Audiophile hi-res 24bit 44.1kHz Release Date: 2013 Recorded: Auditorio Stelio Molo/Studio 2, RSI, Lugano, Switzerland; Chiesa del Sacro Cuore, Bellinzona, Switzerland, 14-21 March 2012 Duration: 01:11:46
Disc reviews by James Manheim "AMG" Russian Julia Lezhneva here shows an admirably gutsy attitude toward developing her repertory, avoiding familiar milestones in favor of an original project. Here she is paired with French countertenor Philippe Jaroussky in a program of works by Pergolesi for two high voices, strings, and continuo: the Stabat mater, for which there are plenty of other recordings, and the less-common Laudate pueri dominum and Confitebor tibi Domine. The distinctive feature here -- which might tempt some to use the word "gimmick," but listen before doing so -- is that Lezhneva fashions her voice into a very close copy of Jaroussky's, which is not at all an easy thing to do. Put this together with the precise, rather edgy playing of I Barocchisti under Diego Fasolis, and the result is a rather otherworldly Stabat mater. The tragic quality of the work and its association with Pergolesi's short life are played down (probably a good thing, for Pergolesi wasn't planning to die at age 26 ) in favor of creating a hypnotic globe of sound from which the two singers' voices emerge as flashing accents along with the punchy sound of Fasolis' strings. It may not be to everyone's taste, but it's quite an accomplishment, and the album continues to serve notice of Lezhneva's emergence as a major star in Baroque singing.
Quality: Audiophile hi-res 24bit 96kHz Source: Qobuz Duration: 00:53:35 Release Date: 2013 Recorded in January 2013 at the Villa San Fermo, Lonigo (Italy)
This is the 51st title in the Vivaldi Edition and the 6th volume, out of approximately 12, of the series dedicated to the violin concertos whose manuscripts are held in the National Library of Turin. Following two successful volumes of concertos for solo violin and orchestra recorded separately in the Vivaldi Edition, virtuosos Riccardo Minasi and Dmitry Sinkovsky now join forces to record pyrotechnic concertos for two violins and orchestra. This series of 6 concertos is an overview of the complete art of Vivaldi as a composer and violinist: large of musical scale, invention, expression, energy, and of course, virtuosity.
Quality: 16bit 44.1khz This is the 51st title in the Vivaldi Edition and the 6th volume, out of approximately 12, of the series dedicated to the violin concertos whose manuscripts are held in the National Library of Turin. Following two successful volumes of concertos for solo violin and orchestra recorded separately in the Vivaldi Edition, virtuosos Riccardo Minasi and Dmitry Sinkovsky now join forces to record pyrotechnic concertos for two violins and orchestra. This series of 6 concertos is an overview of the complete art of Vivaldi as a composer and violinist: large of musical scale, invention, expression, energy, and of course, virtuosity.
Juan De Ledesma (1713-1781) Испанский скрипач и композитор. Madrid war zu Zeiten Farinellis, Scarlattis und Boccherinis ein kulturelles Zentrum ersten Ranges. Mehrere aufeinanderfolgende Hochzeiten spanischer Könige mit charakterstarken italienischen Prinzessinnen führten zu einem Zuzug hochbegabter italienischer Musiker, wie z.B. des italienischen Kastraten Carlo Broschi – des berühmten Farinelli – der in Spanien das zu diesem Zeitpunkt beste Opernorchester Europas gründete. Ledesma war darin einer der wenigen spanischen Geiger, und seine Zusammenarbeit mit Farinelli zeigt, wie sehr er mit der italienischen Schule vertraut war. Dies ist auch in seinen Sonaten ganz offensichtlich, denn sie stehen in direktem Zusammenhang mit der Musik Corellis und der seiner Schüler. Unter seinen anderen Einflüssen finden wir, was wir „Hispanismus“ nennen können, das heißt die Einfügung melodischer und rhythmischer Wendungen, die an spanische – oder genauer andalusische – Volksmusik erinnern, die ebenso auch in der Musik Scarlattis und Boccherinis anzutreffen sind. Ein weiterer wichtiger Einfluss ist die Musik der Vorklassik, die damals in Europa in Mode war und die Ledesma sicher kannte.
“You can gallop away with the Turks, bumping into some unexpected harmonies, and on to the haughty Swiss, or the proud Portuguese. But the most amazing movement is "Muscovites", where basses, lute, cellos and violins chime in imitation of the Kremlin bells.” Rob Cowan, The Independent, 22 March 2002
"The tempi are just, the tuning impeccable, the phrasing graceful." Anna Picard, The Independent on Sunday, 24 March 2002
"absolutely stunning." George Pratt, CD Review, BBC Radio 3, 15 June 2002
“their gusto is overwhelming: listening to this CD with a straight face is quite impossible.” Geoff Brown, The Times, 18 June 2002
Джованни Бонончини (Giovanni Bononcini) (18.7.1670, Модена - 9.7.1747 Вена) - итальянский композитор. Ученик своего отца и позднее болонского композитора П. Колонна. В 1690-е годы переехал в Вену, где занимал должность придворного музыканта. С конца 1710-х годов жил в Лондоне. Там он возглавил королевский театр, долгое время успешно конкурировавший с театром Генделя. Опера Бонончини "Астарта" (1720) имела большой успех; но после постановки в Лондоне оперы Генделя "Юлий Цезарь" слава Бонончини померкла; он не мог соперничать с Генделем и вынужден был уехать из Англии. Последние годы своей жизни Джованни Бонончини жил в Париже и Венеции.
La finta giardiniera (Мнимая садовница), KV 196, комическая опера (dramma giocoso) в трёх актах Вольфганга Амадея Моцарта. Либретто: Giuseppe Petrosellini (Джузеппе Петрозеллини). В течение длительного времени авторами либретто считались Marco Coltellini (Марко Кольтеллини) и Raniero de Calzalbigi (Раньеро де Кальцабиджи), что ныне ставится под сомнение. Работа над оперой началась в сентябре 1774 года. Премьера состоялась 13 января 1775 года в Мюнхене за две недели до достижения Моцартом возраста 19 лет.
In composing his Pièces de clavecin en concerts, Rameau (1683-1764) created a grand work of chamber music, and at the same time, the first-ever piano trios. The independence of the instrumental parts achieved here far surpasses what Haydn, Mozart and even Beethoven did in their piano trios. It is not until Schubert that we meet with trio writing of comparably elaborate texture. Trio Arcangelo Corelli formed in 1984. At first they worked intensely on early Italian violin music, especially on Corelli’s sonatas, and therefore chose the great Roman master as their "patron saint." Based in Düsseldorf, they have given innumerable concerts and made radio and CD recordings.
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