INTORNO ALL'ORATORIO DI SAN FILIPPO NERI

Sviatoslav Richter's discography is one of the most disorderly and complex. Organizing an "organic" collection of studio recordings, was the task of this 2-album box. In this way it is possible to access the teaching of this eclectic pianist, caught in his golden years, in the most complex repertoire of the Polish composer. Sviatoslav Teofilovich Richter was a Soviet pianist of German extraction (German father). He was widely recognized as one of the greatest pianists of the 20th century and is sometimes proposed as the greatest of all. He was well known for his vast repertoire, effortless technique and poetic phrasing. Despite his huge discography, Sviatoslav Richter hated the process of recording. Glenn Gould called him one of the most powerful musical communicators of our time, and it was in concert that Richter's musical genius found it's full expression.

Schubert: Die Zauberharfe & Clarinet Chamber Music

There are a variety of recordings of Wagner's "Dutchman," but this 1968 recording, directed by Klemperer and recorded on the BBC, is qualitatively still at the top of the discography. The conductor's analytical, powerful gaze on the work meets the vocal qualities of Theo Adam and James King. This recording is not identical to the production that Klemperer had recorded for EMI- this is the Dresden version of 1843, which differs in particular from the other editions during it's dramatic conclusion. Otto Klemperer was a conductor who was steeped in the tradition of great German music. He was particularly influenced by Gustav Mahler, and regularly conducted his works, even after his physical health had led him away from conducting frequently. His renditions are marked by their major dramatic strength, as is evidenced on the present release.

I Musici ensemble musicale was founded after WWII in Rome and for several years it was known as I Musici of Rome. It was an ensemble of young people that, for the first time in the last century, had a modern approach to the baroque music. For that time this approach had an extraordinary value because the musicology did not follow the original practice. Arturo Toscanini was enthusiastic about the interpretations of I Musici. This album contains the best Italian repertoire recordings that the ensemble did for British Columbia and are previously unpublished.

Despite the development in the philology, this 1961 Karl Richter interpretation of Bach remains a classic among classics. During his first year in Munich, Karl Richter became conductor of the 'Heinrich-Sch�tz-Kreis', which had been founded at the end of World War II, and renamed it M�nchener Bach-Chor (Munich Bach Choir) in 1954. Together with his newly established Bach Orchestra, Richter and the ensemble gave numerous concerts in Munich and performed regularly at the Bach-Tage Ansbach (Bach Days) until 1964. Within a short time, Karl Richter successfully used 'his' choir to make Bavaria a second home for the Leipzig musical tradition. According to the encyclopedia 'Music in Geschichte und Gegenwart' (Music in the Past and Present), Protestant church music is indebted to the organist of St. Mark's Karl Richter for his 'exemplary work with Bach's music', which has been an important part of the musical life in Munich - 'apart from the church as well'. This was a clear reference to the Munich Bach Choir's achievements on the occasion of the 1959 Protestant Church Convention in Munich. Although Richter's ensembles built a reputation for performing the works of numerous composers, no composer was so frequently performed by Richter as JS Bach.

In the 20th century Antonin Dvorak was essentially performed in what is now currently numbered as Symphony No. 9 which at the time was called Symphony No. 5; based on the old catalog numbering. However; it was the New World Symphony and except in rare cases; the previous symphonies were rarely recorded. However; at the end of the 1950s Barbirolli recorded the last three Symphonies; 7; 8; 9; with the new stereo technique; plus a selection of the Legends and the Scherzo capriccioso; an initiative that greatly contributed to broadening the Bohemian composer’s range of discography. These recordings; made from 1957 to 1959; are of excellent sound quality and are still considered among the best by the most demanding collectors; despite all the integral editions that followed in the following years. This 2-CD box set is a reissue of the old Urania catalog code WS 121.135; which has long been sold out and has always been reordered.

Combined with the first volume of this series dedicated to the cello in the eighteenth century; where the 12 sonatas of Lanzetti’s Op. I of 1736 are proposed; plus the sonata which was added years later in the English edition of Op. II and III; simple transcriptions for flute of eleven of those of his first published work; this recording of the complete Op. V and VI completes the entire corpus of music that this author had published in print. Between about 1750 and ‘60; following a serious illness that brought him close to death; he wanted to publish the first of these two works; and the second following a total and happy recovery.

Whoever has had the good fortune to practise or study under the school of the famous Signor Bernardo Pasquini in Rome, or whoever has at least heard or seen him play, will have been able to know the truest, most beautiful and noble manner of playing and accompanying; and in this full manner will have heard from his cymbal a marvellous perfection of harmony

This 2 CD set, with a series of well-known and certainly spectacular pieces, aims to restore Leonard Bernstein’s true image as an artist and conductor which unfortunately is completely lost in Bradley Cooper’s recent movie. Therefore this release does not intend to ride the wave of the film’s success but to give an idea to those who know little about the of twentieth-century music events what the contribution of such a great artist really was.

The five-part writing for strings has its period of greatest development in the 16th and 17th centuries, only to fall into a progressive obsolescence. The most commonly used instrumental ensemble included two violins, alto and tenor viola da braccio, cello and basso continuo. Of this quintet, the instrument that undergoes a progressive dismissal is the viola tenore, which in this recording we propose in its original late seventeenth century mounting.

ORCHESTRAL WORKS

Classical Music

Classical Music

Classical Music