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Hugo Reyne, La Simphonie du Marais - Vivaldi: 6 Concertos pour flûte à bec (2013)

Posted By: ArlegZ
Hugo Reyne, La Simphonie du Marais - Vivaldi: 6 Concertos pour flûte à bec (2013)

Hugo Reyne, La Simphonie du Marais - Vivaldi: 6 Concertos pour flûte à bec (2013)
EAC | FLAC | Image (Cue & Log) ~ 356 Mb | Total time: 60:49 | Scans included
Classical | Label: Musiques à la Chabotterie | # 605012 | Recorded: 2010

6 Concertos for Recorder adds to a series of nine previous CDs for the label Musiques à la Chabotterie, which have been acclaimed by the media including Classica Choc, Diapason Découverte, Le Monde de la Musique Choc, Goldberg 5 Étoiles, and more. A tribute to Hugo Reyne s teachers and to those whose playing have inspired him, this album features Vivaldi concertos that have carried Reyne through his life.

Nicholas McGegan, Philharmonia Baroque Orchestra - Vivaldi: Flute Concertos & Recorder Concertos (2002)

Posted By: ArlegZ
Nicholas McGegan, Philharmonia Baroque Orchestra - Vivaldi: Flute Concertos & Recorder Concertos (2002)

Nicholas McGegan, Philharmonia Baroque Orchestra - Vivaldi: Flute Concertos & Recorder Concertos (2002)
EAC | FLAC | Image (Cue & Log) ~ 528 Mb | Total time: 60:03+60:20 | Scans included
Classical | Label: Harmonia Mundi | # HMX 2907340.41 | Recorded: 1988, 1991

When the German transverse flute found its place in Italy and was accepted by the Catholic church as a suitable replacement for the proscribed recorder, Antonio Vivaldi took to it with great enthusiasm. His flute concertos mark a point of departure, coming after he had completed his 40 bassoon concertos and virtually all of the string concertos. Although some of these pieces were reworkings of material previously composed for recorder, Vivaldi came to capitalize on new techniques he learned from Ignazio Siber, the flute instructor at the Ospedale della Pietà. Of Vivaldi's 15, the 7 flute concertos presented here were freshly written for the instrument.

Roel Dieltiens, Explorations Ensemble - Vivaldi: Concertos pour violoncelle Vol. 2 (2002)

Posted By: ArlegZ
Roel Dieltiens, Explorations Ensemble - Vivaldi: Concertos pour violoncelle Vol. 2 (2002)

Roel Dieltiens, Explorations Ensemble - Vivaldi: Concertos pour violoncelle Vol. 2 (2002)
EAC | FLAC | Image (Cue & Log) ~ 354 Mb | Total time: 70:29 | Scans included
Classical | Label: Harmonia Mundi | # HMC 901745 | Recorded: 2001

Roel Dieltiens is a Baroque cellist par excellence and the modest size of Ensemble Explorations (seven players including continuo) suits these works admirably. Vivaldi poured some of his finest music into his numerous concertos for bassoon and cello‚ both dualregister instruments for which he had obvious affection – to which the affecting slow movements richly testify. Dieltiens’ superb bow control and his natural empathy with style and emotional aura make these memorable musical experiences.

Roel Dieltiens, Explorations Ensemble - Vivaldi: Concertos pour violoncelle Vol. 1 (1998)

Posted By: ArlegZ
Roel Dieltiens, Explorations Ensemble - Vivaldi: Concertos pour violoncelle Vol. 1 (1998)

Roel Dieltiens, Explorations Ensemble - Vivaldi: Concertos pour violoncelle Vol. 1 (1998)
EAC | FLAC | Image (Cue & Log) ~ 310 Mb | Total time: 68:02 | Scans included
Classical | Label: Harmonia Mundi | # HMC 901655 | Recorded: 1997

Vivaldi's many cello concertos are performed here with consummate taste and superb musicality by Roel Dieltiens and the Ensemble Explorations. Dieltiens plays with a rich tone and a light touch and his robust virtuosity and enthusiastic sympathy for the music are irresistible. The seven members of the Ensemble Explorations – five strings plus lute or guitar and organ or harpsichord – play with a sense of cooperation, which leaves this music sounding as concertos from the period should, which is to say more like chamber music.

Philippe Entremont, Leonard Bernstein, André Watts, Seiji Ozawa - Rachmaninov: Piano Concertos Nos. 2 & & 3 (1994)

Posted By: ArlegZ
Philippe Entremont, Leonard Bernstein, André Watts, Seiji Ozawa - Rachmaninov: Piano Concertos Nos. 2 & & 3 (1994)

Philippe Entremont, Leonard Bernstein, André Watts, Seiji Ozawa, New York Philharmonic - Rachmaninov: Piano Concertos Nos. 2 & 3 (1994)
EAC | FLAC | Image (Cue & Log) ~ 327 Mb | Total time: 71:23 | Scans included
Classical | Label: Sony Classical | # SBK 53512 | Recorded: 1960, 1969

The Piano Concerto No. 2 in C minor, Op. 18, is a concerto for piano and orchestra composed by Sergei Rachmaninoff between the autumn of 1900 and April 1901. The second and third movements were first performed with the composer as soloist on 2 December 1900. The complete work was premiered, again with the composer as soloist, on 9 November 1901, with his cousin Alexander Siloti conducting. This piece is one of Rachmaninoff's most enduringly popular pieces, and established his fame as a concerto composer.

Andrei Gavrilov, Riccardo Muti, The Philadelphia Orchestra - Rachmaninov: Piano Concerto No.2, Paganini Rhapsody (1997)

Posted By: ArlegZ
Andrei Gavrilov, Riccardo Muti, The Philadelphia Orchestra - Rachmaninov: Piano Concerto No.2, Paganini Rhapsody (1997)

Andrei Gavrilov, Riccardo Muti, The Philadelphia Orchestra - Rachmaninov: Piano Concerto No.2, Paganini Rhapsody (1997)
EAC | FLAC | Image (Cue & Log) ~ 209 Mb | Total time: 58:33 | Scans included
Classical | Label: EMI | # 7243 5 69829 2 5 | Recorded: 1991

This is a very good performance of the Piano Concerto No. 2 and the Rhapsody on a Theme by Paganini performed by Andrei Gavrilov, the Russian Pianist, and the Philadelphia Orchestra, conducted by Riccardo Muti. It is a very good interpretation of these works, capturing all the intensity and nuance, energy and romance, of these selections. There are passages of incredible speed where precision is essential and this is evident in this recording. Gavrilov has the ability to fully express the magnificence of some passages and the more brooding nuance and subtlety of other passages. The Philadelphia Orchestra sounds terrific in this recording.

Neville Marriner, Academy of St Martin-in-the-Fields - Charles Avison: 12 Concerti Grossi After Domenico Scarlatti (1993)

Posted By: ArlegZ
Neville Marriner, Academy of St Martin-in-the-Fields - Charles Avison: 12 Concerti Grossi After Domenico Scarlatti (1993)

Neville Marriner, Academy of St. Martin-in-the-Fields - Charles Avison: 12 Concerti Grossi After Domenico Scarlatti (1993)
EAC | FLAC | Image (Cue & Log) ~ 724 Mb | Total time: 71:51+71:12 | Scans included
Classical | Label: Philips Classics | 438 806-2 | Recorded: 1978

Newcastle-born and -based, Charles Avison issued his string arrangements of harpsichord sonatas by Domenico Scarlatti in 1744. Forty-two of Scarlatti's sonatas had been published by Roseingrave in London five years earlier and it was these which, by and large, provided Avison with his material. 'By and large', since, as Stephen Roe remarks in his note, the sonatas included only two slow movements and Avison, planning 12 concertos in the slow-fast-slow-fast scheme favoured by his teacher, Geminiani, required 24.

Philip Pickett, New London Consort - Johann Sebastian Bach: 6 Brandenburg Concertos (1994)

Posted By: ArlegZ
Philip Pickett, New London Consort - Johann Sebastian Bach: 6 Brandenburg Concertos (1994)

Philip Pickett, New London Consort - Johann Sebastian Bach: 6 Brandenburg Concertos (1994)
EAC | FLAC | Image (Cue & Log) ~ 493 Mb | Total time: 94:55 | Scans included
Classical | Label: L'Oiseau-Lyre | 440 675-2 | Recorded: 1993

Everything that could be desired in a historically informed performance of J.S. Bach's Brandenburg Concertos is presented in Philip Pickett's brilliant set with the New London Consort, released in 1993 on L'Oiseau Lyre. This version with period instruments and an ensemble of a size according to Baroque norms is much more than a dry run-through of these beloved works. It is a clever and highly expressive re-creation of Bach's most popular concertos, re-imagined through the artistic and philosophical connections and conventions that likely were found in them by Bach's contemporaries, most probably by Bach and the Margrave of Brandenburg himself.

Wilhelm Furtwängler: Das Vermächtnis / The Legacy - Box 5: Haydn, Mozart, Schubert (2010)

Posted By: ArlegZ
Wilhelm Furtwängler: Das Vermächtnis / The Legacy - Box 5: Haydn, Mozart, Schubert (2010)

Wilhelm Furtwängler: Das Vermächtnis / The Legacy - Box 5: Haydn, Mozart, Schubert (2010)
EAC | FLAC | Image (Cue & Log) ~ 3.37 Gb | Total time: 15:30:43 | Scans included
Classical | Label: Membran Music | # 233110 | Recorded: 1926-1954

Conductor Wilhelm Furtwangler already enjoyed a worldwide legendary standing during his lifetime - he was considered the German conductor and performances were greeted with rapturous applause. Today, more than 50 years after his death, Wilhelm Furtwangler is still an icon and his work has become an integral part ofthe music scene.

Wilhelm Furtwängler: Das Vermächtnis / The Legacy - Box 2: Beethoven (2010)

Posted By: ArlegZ
Wilhelm Furtwängler: Das Vermächtnis / The Legacy - Box 2: Beethoven (2010)

Wilhelm Furtwängler: Das Vermächtnis / The Legacy - Box 2: Beethoven (2010)
EAC | FLAC | Image (Cue & Log) ~ 3.32 Gb | Total time: 14:08:42 | Scans included
Classical | Label: Membran Music | # 233110 | Recorded: 1926-1954

Conductor Wilhelm Furtwangler already enjoyed a worldwide legendary standing during his lifetime - he was considered the German conductor and performances were greeted with rapturous applause. Today, more than 50 years after his death, Wilhelm Furtwangler is still an icon and his work has become an integral part ofthe music scene.

Vladimir Ashkenazy, Bernard Haitink, Concertgebouw Orchestra - Brahms: Piano Concerto No. 2 (1984)

Posted By: ArlegZ
Vladimir Ashkenazy, Bernard Haitink, Concertgebouw Orchestra - Brahms: Piano Concerto No. 2 (1984)

Vladimir Ashkenazy, Bernard Haitink, Concertgebouw Orchestra - Brahms: Piano Concerto No. 2 (1984)
EAC | FLAC | Image (Cue & Log) ~ 215 Mb | Total time: 50:58 | Scans included
Classical | Label: Decca | 410 199-2 | Recorded: 1982

The Second Concerto is more unitary in manner. There are still occasional moments of hard tone from Ashkenazy, but they are less noticeable here. It’s a nice performance if you like a pretty broad first movement, an energetic but controlled Scherzo, a mellow Andante and a Finale which aims more at grace and good humour than anything climatic. The recording is lively with a touch of glare at times.

Bram van Sambeek, Alexei Ogrintchouk, Swedish Chamber Orchestra - Mozart, Du Puy, Weber: Bassoon Concertos (2020)

Posted By: ArlegZ
Bram van Sambeek, Alexei Ogrintchouk, Swedish Chamber Orchestra - Mozart, Du Puy, Weber: Bassoon Concertos (2020)

Bram van Sambeek, Alexei Ogrintchouk, Swedish Chamber Orchestra - Mozart, Du Puy, Weber: Bassoon Concertos (2020)
EAC | FLAC | Image (Cue & Log) ~ 269 Mb | Total time: 66:15 | Scans included
Classical | Label: BIS | BIS-SACD-2467 | Recorded: 2019

As Bram van Sambeek writes in the liner notes to his new disc, bassoonists consider Mozart’s Concerto in B flat major the absolute pinnacle of their repertoire. A man of great contrasts himself, Mozart recognised the potential of the bassoon as a vehicle for expressing a wide range of moods and attitudes – from the joking and playful to the dreamily tuneful. Another composer who showed a special understanding for the instrument was Carl Maria von Weber, whose Concerto in F major doesn’t come far behind Mozart’s on the list of all-time bassoon hits.

Dietrich Fischer-Dieskau, Daniel Barenboim, Jacqueline du Pre - Schumann: Cello Concerto & Piano Concerto (2001)

Posted By: ArlegZ
Dietrich Fischer-Dieskau, Daniel Barenboim, Jacqueline du Pre - Schumann: Cello Concerto & Piano Concerto (2001)

Dietrich Fischer-Dieskau, Daniel Barenboim, Jacqueline du Pré - Schumann: Cello & Piano Concertos, Introduction & Allegro appassionato (2001)
EAC | FLAC | Image (Cue & Log) ~ 316 Mb | Total time: 74:12 | Scans included
Classical | Label: EMI | # 5 74589 2 | Recorded: 1969, 75

If ever a performance of Schumann's Piano Concerto stressed the principle of dialogue between soloist and conductor, then this is it. True, the Philharmonia's string ensemble isn't as watertight under Fischer-Dieskau as it might have been under some other conductors; and poetry is invested at the premium of relatively low-level drama. Orchestral textures are absolutely right for Schumann – warm yet transparent, full-bodied yet never stodgy – and poetry is a major priority. Add Barenboim's compatible vision and keyboard finesse, and you indeed have a memorable reading.

Vladimir Ashkenazy, Bernard Haitink, Concertgebouw Orchestra - Brahms: Piano Concerto No. 1 (1983)

Posted By: ArlegZ
Vladimir Ashkenazy, Bernard Haitink, Concertgebouw Orchestra - Brahms: Piano Concerto No. 1 (1983)

Vladimir Ashkenazy, Bernard Haitink, Concertgebouw Orchestra - Brahms: Piano Concerto No. 1 (1983)
EAC | FLAC | Image (Cue & Log) ~ 203 Mb | Total time: 48:38 | Scans included
Classical | Label: Decca | 410 009-2 | Recorded: 1981

Johannes Brahms was not a composer who showed much confidence early on in his career, at least as far as large-scale orchestral forms were concerned. Take for instance what we know to be his Piano Concerto No. 1, which premiered in 1859. This work began as a sonata for two pianos, and then Brahms considered developing it into a symphony. But the shadow of Beethoven's nine essays in the symphonic form dogged Brahms so much that his First Symphony didn't appear for almost two decades. It finally emerged into this turbulent and elongated D Minor concerto and, despite receiving a fairly frigid reception at its premiere, it is a work that has come to be seen as Brahms' first true large-scale orchestral masterpiece.

Roy Goodman, The Brandenburg Consort - Corelli: Concerti Grossi Op. 6 (1993)

Posted By: ArlegZ
Roy Goodman, The Brandenburg Consort - Corelli: Concerti Grossi Op. 6 (1993)

Roy Goodman, The Brandenburg Consort - Corelli: Concerti Grossi Op. 6 (1993)
XLD | FLAC | Image (Cue & Log) ~ 747 Mb | Total time: 138:06 | Scans included
Classical | Label: Hyperion | CDD 22011 | Recorded: 1992

Corelli's Op. 6 contains two types of concerto, one termed da chiesa, the other da camera. The first eight concertos of the set belong to the former category, while the remaining four, of a less ostensibly serious character, belong to the second. Sometimes the differences are little more than terminological since there are, for instance, several clearly dance-orientated movements among the da chiesa concertos. The Brandenburg Consort give an affectionate and stylish account of these works…The playing is full of vitality and also responsive to the satisfying sounds inherent in Corelli's rich ripieno textures. The concertino group of two violins and cello also comes over effectively, providing that balanced contrast between small and larger units of sound.