Harpsichord Pieces, Book 4, Suite 20, No.1: La Princesse Marie

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The version of the opera issued by Urania, which is the preferred version for streaming online, retains this louder organ note but minimizes it a little. The Naxos issue, however, was made from a pristine copy of the original acetates. The organ note is receded in the soundspace, as it should be, and the overall recording has a natural ambience lacking from both the RCA and Urania issues, but it is a little deficient in the bass and midrange.

I would recommend boosting these by a couple of decibels to rectify the situation. This live feed also does not include the inserts that Toscanini demanded from the dress rehearsal, but that is a small matter. By and large, the sound is terrific, almost natural compared to many Toscanini broadcasts from the notorious Studio 8-H. As for the performance, I find it lacking a little in the menace of the Iago. Although Giuseppe Valdengo was a fine baritone with an excellent voice, and though Toscanini coached him in the role like a drill sergeant remember, Toscanini played cello in the orchestra of the world premiere!

Other than that, this is a magnificent performance.

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Karajan, like Toscanini, pulls all the stops out, and there is a nice bonus in the fact that the great flautist James Galway was a member of the Berlin Philharmonic at the time, and you can hear him play all those great little flute bits in act one. Happily, the stars of this show really are the stars of the show. The dark, grimy life she and her father have had to lead are anathema to her, and she simply wanted to end it all.

And then there is the late Edward Downes, surely one of the most underrated Verdi conductors who ever lived. The only other conductor who came close to this achievement was Richard Bonynge, and he failed because he had to keep slowing down to allow his klunker of a wife muddle her way through the role of Gilda. The performance is that good.

By the way, honorable mention goes to a splendid and little-known film performance with Margarita Rinaldi as Gilda, Franco Bonisolli as the Duke and Rolando Panerai as Rigoletto with Francesco Molinari-Pradelli conducting. You can see it for free here. This is not normally the kind of performance I find musically valid or interesting. But what a gorgeous voice he had back then! And how gratefully his tone strikes the ear after decades of listening to Placido Domingo strain and struggle his way through most of the tenor and baritone repertoire! More to the point, as odd as it sounds, everything that is done in this performance works.

By the end of the duet I realized that what he did was dramatically effective: he gave the impression that the idea of revenge slowly came to Rigoletto, that Gilda realized this and, in shock, tried to dissuade him, but as the duet goes on and the tempo increases so too does his resolve. Not so here.

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Surprisingly, her very alive and realistic-sounding response to the changing dramatic situation perfectly mirrors the mind and psyche of a year-old yong woman who has been sheltered all her life but has now been defiled and, for the first time in her life, deceived and betrayed. Moreover, he captures perfectly the dark, menacing mood of the opera, which so many conductors miss.

This is a shame, as the official Met-Sony release has the clearer sound. And this cast simply cannot be beat, not in any of the roles…just imagine, Leonard Warren as Paolo! You almost never hear Amelia sung with this kind of penetrating dramatic thrust and flawless technique. Richard Caniell of Immortal Performances has done a good job of cleaning this up as much as is possible to provide a relatively but not entirely noise-free listening experience, so it gets 5 fish despite being mono and sub-par mono at that. The stereo and digital recordings of Boccanegra are more of a problem.

Unfortunately, many Verdi-lovers want big, brassy voices in these roles to the expense of subtlety of acting and interpretation, so if that is your thing go for it. Personally, I prefer the live performance with almost the same cast except for the major replacement of the great Veriano Luchetti as Gabriele in place of Carreras.

So why is it listed second here? You can hear the Amelia-Boccanegra duet here, however. Most of the tempi are more relaxed, and the conductor draws a superb performance out of his singers and orchestra. A few moments of Toscanini singing along with the artists or shouting a couple of invectives do not detract from the magnificence of this performance. No one I know has ever pointed out that this is the only studio recording of any opera made by those two close friends, Warren and tenor Richard Tucker, the latter also sounding wonderful, and young Rosalind Elias gives us a glimpse of what might have been had she not pushed her voice far too hard during her Met career.

This is my gift to you: the only recording of Il Trovatore, digitally modified, that matches what Verdi wrote. And yes, I had the score and a metronome at hand when I double-checked all these tempi. They are what Verdi wrote, no faster, no slower. Die Soldatenbraut. Im April. Zwei Rosen. Der Gefangene. Auf die Rose. Die Meise. Des Nachts. Die Kapelle. Die Klagende.

Die Sterne. Aus Fremden Lande. Die Nacht und der Tag.


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Nixe Binsefuss. O Wenn es Wahr ist, Dass zur Nacht. Vor Gericht. The Crag. The Flower. For Distant Shores of Homeland. I Loved Him. Midnight Phantoms. Old Man, Harsh Husband. Quietly Fades the Evening Light. The Solution. Tell Me Why. Upon the Hills of Georgia. Pauline Viardot-Garcia, the youngest child of legendary tenor-patriarch Manuel Garcia, was not only a great singer in her early years but an exceptionally fine song composer.

The examples listed above will prove to you that she was clearly on a par with Schumann, Brahms, Wolf and Mussorgsky as one of the finest song composers of the 19th century. A little-known but superb piano suite by Villa-Lobos, played to perfection by the multi-talented Elena Gaponenko. Vivaldi wrote something like 50 operas, but only this one really works on CD because everyone is in overdrive and they sing and play it with tremendous fervor. At the time of recording, only soprano Patrizia Ciofi and countertenor David Daniels were well known singers, but one will also note the presence of Vivica Genaux, Marijana Mijanovic and Elina Garanca, all of whom became famous afterwards.

After listening to David Daniels and all the other male falsetto countertenors, your ears will be shocked by Randall K. Wong—he really does sound like a soprano, and his singing is unfailingly musical and rhythmically lively. A real treat! La Fida Ninfa: Alma oppredda. Giustino: Sventurata navicella.

Few singers in our lifetime have done as much for Baroque and Classical-era music as Cecilia Bartoli, and these examples are beyond reproach. The last aria, from Olimpiade, will leave you breathless in disbelief as to what this woman can do with her voice.

Salerno-Sonnenberg and the St. An absolutely inspired and inspiring reading! Orlando is certainly furious in this barn-burner of an opera, and this recording—though flying somewhat in the face of the burgeoning HIP movement by including such big-voiced opera singers and of conventional opera, no less as Horne, de los Angeles, Valentini-Terrani, Kozma, Bruscantini and Zaccaria some of them had been around since the s!

The biggest surprise here is de los Angeles, who after singing since the late s without a trill even in operas that required it, like Faust , suddenly pulled a few of them out of thin air for this performance. Canadian alto Lemieux, whose voice sometimes rattles like dice in a box, here pulls back on her breath pressure to produce an absolute gem of a performance of this deeply-felt work by Vivaldi. By his own admission, Giovanni Pacini wrote a dozen or more formulaic operas and one masterpiece that he spent a long time gestating. Saffo is that masterpiece. Yes, it sounds a lot like early Verdi except that it was produced before Verdi wrote his best early operas.

This performance, featuring the great soprano Leyla Gencer in the title role, has long been considered the best available despite the somewhat boxy mono sound. These, the two most famous showpieces of Paganini, are given stupendous performances here by the legendary Bronislaw Huberman the first and year-old Jascha Heifetz the second. Note that they both knew how to shade the music, not just spit out notes like a machine gun.

No one comes close to Edson Scheid, a relatively little-known violinist, in the performances of these sprightly but fiendishly difficult works. Thank you. Just as Edson Scheid plays the Caprices better than anyone else, French violinist Alexandre Dubach owns the violin concerti. Moderato ; II. Andante tranquillo ; III. The music of the little-known Boris Papandopulo—exciting, pointillistic, and filled with imaginative ideas—is among the best-kept secrets in the music world.

These pieces are a perfect introduction to his sound world, and the performances are exemplary. Morning Star. Most Holy Mother of God. This is my favorite compilation of his music. And these are real, solid works, on a par with anything I have heard come from the pen of any 20th-century composer. These are fresh, innovative pieces that will grab your attention and not let you go.

When I reviewed these CDs for Fanfare in , I noted that Pelosi chose to work completely outside the academic system, earning his living as a piano tuner. His scores vacillate between lyricism and dense counterpoint, always with something important to say. He is also a very concise writer; not a note or phrase in any of these works is superfluous or one moment longer than it needs to be. None of these works or excerpts from them seem to be available online for free streaming, but I passionately urge you to acquire these discs.

They are absolutely remarkable. The only slight drawback, to my ears, is the excessively dry acoustic, but that is a small nit to pick for such a rewarding listening experience. Ironically, I find La Serva Padrona lacking in sparkle and imagination next to The Music Master, said to have been written by Pergolesi in conjunction with two of his composition pupils unnamed. The sound is a bit better albeit with tape hum in La Serva Padrona. For me, this is the most beautiful and affecting performance ever recorded.

I Taste a Liquor Never Brewed. So Set its Sun in Thee. My Love is in a Light Attire. I Gazed Upon the Cloudless Moon. Lonely at Her Window Sitting. Was it With the Fields of Green. Today a Bird Came Down to Me. She Dwelt Among the Untrodden Ways. Sleep Brings No Joy to Me. The Soft Unclouded Blue of Air. Mild the Mist Upon the Hill. She Rested by the Broken Brook. With Rue My Heart is Laden. Her Strong Enchantments Falling. Still Beside That Dreary Water. The Sun Has Set. Awaking Morning Laughs from Heaven. Fall, Leaves, Fall. She Dried Her Tears. Ah, Sunflower!

The exquisitely beautiful and well-written songs of Nick Peros, a Canadian composer and former rock musician, may come as a pleasant surprise to many listeners. These songs have great appeal to all listeners, the more so because of the pure singing and clear diction of soprano Heidi Klann. Balada para un loco. Introduccion al angel.

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Jeanne y Paul. Milonga del angel. The classical tangos of Astor Piazzolla have, if anything, found an even larger audience since his death in The only problem I have with them is that the tango, a popular dance in Argentina, is extremely limited in both rhythm and harmony for classical composition, but the performances listed above are, in my view, the most interesting and exciting ever recorded. The Flight of Icarus. Tsunami ; II. Wildfire ; III. Aurora ; IV. British composer John Pickard is noted for his edgy, modern orchestral scores, and the first two CDs listed above will give you a good example of his work.

The performances by Martyn Brabbins and Andreas Hanson are excellent. This is written in a very different style from his orchestral works: lyrical and mostly tonal, at times channeling Vaughan Williams and at other times Britten. Baritone Roderick Williams had a bit of a flutter, but his voice is warm and lovely and he is a first-class musician and interpreter. Soprano Eve Daniell is another matter; her voice is thin, shrill and nasal, which is why I only give it four stars, though the music on here is all first-rate.

Adagio ; III. Fleundo espressivo ; II. Leggierissimo vivace ; III. Adagio sereno ; IV. Once a frequent name on American concert programs even into the early s, Walter Piston has rather dropped off into oblivion over the past 30 years, yet as the above works will illustrate he was one of our finest and most fastidious composers. Always interesting and never dull, he said what he had to say with an economy of gesture that many modern composers would do well to emulate.


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The Ormandy recording of the Fourth Symphony is in mono, hence the reduced rating, but otherwise all is well in the above performances. A Last Farewell. The Red Candle. Sorrowful Song. The surprising, original and often stunning beautiful songs of Plakidis will undoubtedly come as a surprise to most music lovers, as he is scarcely a household name, but as you will hear by streaming this music he inhabits his own special sound world. Concierto de sur Concerto of the South.

Estampas Nocturnas. Instantaneas Mexicanas. Piano Concerto. Mexican composer Manuel Ponce is largely known for just one song, the evergreen Estrellita, but as the above works will show, he was an outstanding composer in a number of genres.

In a catalog chock full of Giocondas, including two by Maria Callas, the reader is probably puzzling over my pick here. In my mind, it was easy, and not just because this is the finest cast in my view ever assembled for this work. The reason I love this recording above all others is that, for once, the conductor pulls all the disparate parts of the opera together and makes them sound like a cohesive whole.

Because of this, all those out-of-style arias that normally sound as if they were spliced in from other operas all seem to fit, and the scenes flow seamlessly. Otherwise, this is THE Gioconda to hear.

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Les Biches Ballet. Chansons gaillardes. Chansons villageoises 6 songs. Le Disparu. Paul et Virginie. Le Portrait. Priez pour Paix. Trois chansons de F. Le bestiaire. La Colombe. La Puce. La Souris. Poulenc was, above all else, a witty and superior writer of songs. Many of them were written for his lifelong friend and lover, baritone Pierre Bernac, thus baritones often have a leg up on singing his material, but late in life he met the excellent actress and lively soprano Denise Duval, for whom he wrote his short monodrama, La Voix Humaine see below. The above recordings are my favorites of all in these songs.

Whatever it was that prompted all this music to be recorded and issued was clearly an inspired idea, for there is not a mediocre or uninteresting track on this set. I doubt that this recording will ever be surpassed. Two of the finest orchestral and choral works written by Poulenc in recordings made under his supervision. Decent stereo sound, too! A performance of searing intensity from a vastly underrated contralto Soukupova and a conductor largely admired for his interpretations of Czech and Russian music. This one is a must-have.

Divertimento, Op. Symphonic Song, Op. Kije Suite.

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This outstanding live recording was made at a time, in the s, when Valery Gergiev was truly one of the greatest conductors in the world. Of course, the tempo may have been altered to make it fit on two sides of a standard inch rom record, which had a playing time of a little over four minutes per side, since most performances run a little over nine minutes; but what a rush to hear this! The great Koussevitzky, master of orchestral sound, made two recordings of this work: the first in with narrator Richard Hale and this one, in , with Eleanor Roosevelt.

Only 4 fish due to the boxy sound. For historic recordings of No. Natalia Trull practically devours Prokofiev. You can watch her playing certain movements from the series on YouTube; the filming is very dark, but omigod what powerful hands and quick fingers she has! Only 4 fish, however, due to the dry, boxy mono sound. Violin Concerto Nos. People love to complain that this performance is too fast. I would counter that most are just a tad sluggish. More outstanding interpretations by two musicians close to the composer, Oistrakh and Richter.

Yampolsky is very fine in the second sonata, if not quite Richter. Three recordings out of the dozens made of this opera, all gems in their own way. Licia Albanese was one of the greatest Mimis of all time I was lucky to see her sing it live , and by her own admission this is the better of her two recordings the other one with Beniamino Gigli, though very lively, plays fast and loose with the score.

And what a great cast! Despite his lack of a big name, baritone Lorenzo Saccomani is a superb Marcello and we are fortunate to get the great Evgeny Nesterenko as Colline. You may choose to acquire the Kleiber over the Toscanini due to its superior sound stereo TV broadcast, not perfect but far better than Studio 8-H , but you really need to have the Nagano recording as well. All are close but none hit the mark. The second version has a splendid Suzuki from the little-known Barbara Howells and a fairly good Pinkerton by John Lanigan, but Geraint Evans is in poor voice and the sound quality of this old mono tape is uneven, with the orchestra breaking up into powdery sound here and there—although the death of Butterfly is conducted by Kempe as if it were Greek drama.

Which leaves these two as excellent representatives of imaginative, well-paced performances that have the breath of life about them. Pampanini had a strong lyric-spinto soprano yet was able to sound not too badly as the year-old geisha. The sound is boxy and inadequate, hence the rating of only 4 fish.

Puccini had a harder time with Butterfly than almost any of his other famous operas, pulling it from circulation and rewriting it. His first Butterfly was Rosina Storchio, a sturdy-voiced lyric soprano, and his second was the indomitable soprano Salomea Kruscelnicka, who could and did also sing Verdi and Wagner.

Here we have a cast of consistently light voices: although mezzo Rosalind Elias went on to sing Verdi roles, that part of her repertoire was badly misjudged and ruined her voice. Moffo, of course, also sang Verdi, but only the soubrette roles like Gilda. Some reviewers have said that she is the most youthful-sounding Cio-Cio-San on records.

I find that Moffo strikes a nice balance between Huang and de los Angeles, sounding a bit like a giggling teenager in love until the final scene when she lets loose with some very credible acting. I wish that Magda Olivero or Leyla Gencer had recorded this role in good sound, but their surviving artifacts are pretty rough-sounding. In my view, he is second-best to Bergonzi in the Barbirolli set. Elias, here able to use a microphone to project her voice, turns in a surprisingly vivid, lively Suzuki, one of the best on record, and much to my surprise Leinsdorf conducts not only briskly but with tremendous textural clarity.

But this performance captures Callas for the last time in quite good voice, presents her late interpretation of the role which was more searing and realistic than her early s studio recording and performances , and the conducting of Cillario is much more taut than usual.

And of course Gobbi was the Scarpia par excellence of his time. Otherwise, this is a performance that will rivet your attention from start to finish. A neglected gem! An Evening Hymn. A New Ground in E min. Chaconnes in G min. Cibell in C. Come Ye Sons of Art: Strike the viol. Dido and Aeneas. Fantasias Nos. Fantasia Upon One Note. Grounds in C, C min. Hail Bright Cecilia. Various songs, jigs, marches, minuets, overtures, trumpet tunes, voluntarys and keyboard pieces. Music for the Funeral of Queen Mary. The Fairy Queen. The Indian Queen. The Prophetess, or the History of Dioclesian.

How Sweet it is to Love. An Evening Hymn on a Ground. Fly Swift, Ye Hours. I Love and I Must. Musicj For a While. Strike the Viol. La Fileuse 2,12,6 Gavotte 4,26,2 Les sartires, chevre pieds seconde partie 4,23,5 La bourbonnoise, gavotte 1,1,14 La Princesse Marie premier partie 4,20,1. Le Turbulent 3,18,4 Le petits moulins a vent 3,17,2 Les tricoteuses 4,23,2.

Richard Strauss. Josephslegende Schlagobers Verklungene Feste Symphony No. Der Rosenkavalier film. List of compositions. Neoclassical music. Neoclassical ballet Neoromanticism music Neotonality Modernism music. Classical music portal. Categories : Compositions by Richard Strauss Ballet music compositions Neoclassicism music 20th-century classical music.

Namespaces Article Talk. Views Read Edit View history. Languages Add links. By using this site, you agree to the Terms of Use and Privacy Policy. Sarabande: La Majestueuse 1,1,4 Les sentimens, sarabande 1,1, Source: Norman Del Mar vol. Vienna Philharmonic , Richard Strauss. Chamber Orchestra of Europe , Erich Leinsdorf.

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