Impress

Vivaldi, Antonio
Le quattro stagioni/Concerto RV 403/Sonata RV 63

ACC 24179 ; recorded 2006-11-01 ; published 2007-04-01

Tracklist

Antonio Vivaldi (1678-1741)

Concerto in D major for violoncello, strings and b. c. RV 403
1 Allegro
2 Andante e spirituoso
3 Allegro
Soloist: Sigiswald Kuijken, violoncello da spalla

Le quattro stagioni op.8 Nr.1-4

Concerto in E major for violin,strings and b.c. RV 269 "La primavera"
4 Allegro
5 Largo e pianissimo sempre
6 Danza pastorale
Soloist: Sara Kuijken, violin

Concerto in G minor for violin, strings and b.c. RV 315 "L'Estate"
7 Allegro non molto
8 Adagio
9 Presto tempestuoso d'estate
Soloist: Luis Otavio Santos, violin

Concerto in F major for violin, strings and b.c. RV 293 "L'Autumno"
10 Allegro
11 Adagio molto
12 Allegro: La Caccia
Soloist: Dmitry Badiarov, violin

Concerto in F minor for violin, strings and b.c. RV 297 "L'Inverno"
13 Allegro non molto
14 Largo
15 Allegro
Soloist: Sigiswald Kuijken

Sonata in D minor for two violin and b.c. op.1 No.12 RV 63 "La follia"
16 Twelve Variations
Luis Otavio Santos & Sara Kuijken, violins
Sigiswald Kuijken, violoncello da spalla
Frank Agsteribbe, harpsichord

La petite bande
Sigiswald Kuijken, leader, violoncello da spalla and violin

Concerto in F minor for violin, strings and b.c. RV 297 "L'Inverno"

13.Allegro non molto

JOHANN SEBASTIAN BACH
(1685 -1750)

Aria mit verschiedenen Veränderungen vors Clavicimbal mit 2 Manualen
(Goldberg-Variationen/Goldberg Variations) BWV 988

GUSTAV LEONHARDT CEMBALO / HARPSICHORD
(William Dowd, Paris 1975,nach /after Blanchet, Paris 1730)

The Goldberg Variations Not too much credence should be attached to the story initially reported in Johann Nikolaus Forkel's 1802 biography of Bach, that the Goldberg Variations were written to the commission of Count Keyserlingk. In all probability Bach presented his noble sponsor with a copy of the newly printed work on his visit to Dresden in November 1741, and it is certain that Johann Gottlieb Goldberg (1727 – 56), the highly gifted pupil of J. S. and W. F. Bach, and Keyserlingk's harpsichordist, often played the work to his master – probably in reality to while away the latter's sleepless nights. But there is no trace of a formal dedication to the Count on the title page of the 1741 printed edition, as the niceties of 18th century manners would certrainly have demanded. Furthermore, it is more than doubtful whether Bach could have had in mind the capacities of the then only 13 year old Goldberg when he began to compose the work, in 1740 at the latest. It is much more likely that this set of variations, like the three preceding parts of the "Clavier-Übung", were written at Bach's own initiative. The monumental series of "clavier exercises", representing the most important types of keyboard music in exemplary compositions, was destined to receive a cyclically closed major work as its crown and conclusion.

This closing part of the Clavierübung simultaneously opens the series of monothematic contrapuntal instrumental works which occupied the last decade of Bach's life. How much this set of variations may be regarded as a milestone is particularly evident from Bach's manuscript copy which became known to us only in 1975, containing, in addition to important corrections and amendments, a manuscript appendix with "14 canons on the first 8 ground notes of the Aria" (BWV 1087), the new conceptual basis of which was to find fuller expression in the later works (e. g. the Musical Offering). The unusual proportions of the set of variations are already apparent in the length of the theme, which Bach developed from a traditional bass model into a 32-bar ground bass for the aria and its variations. The number of bars and the total number of sections (Aria, 30 variations, Aria da capo) correspond exactly: a perfect proportion. The overall plan and structure of the work mirrors the composer's intended balance of "inventio" and "ratio". The variety of musical forms, types of rhythmic movement, expressive moods and technical refinements is divided into two large sections each containing 15 variations (the second begins with an Overture) and simultaneously finds its backbone in the form of a compelling contrapuntal climax: each third section is a canon, with the imitative intervals climbing steadily from unison to ninth, and at the end stands a Quodibet as a humorous final section, combining the theme of the work with two folktunes ("Kraut and Rüben haben mich vertrieben", "Ich bin so lang nicht bei dir g'west").

Translation: D. D. Jones 

Francois Couperin
Pieces de Violes  

ACC 9288 ; recorded 1992-06-01 ; published 1993-06-01

Tracklist

Francois Couperin (1668 - 1733):

Pieces de violes avec la basse chifrée, 1728
Première Suite
1 Prelude
2 Allemande
3 Courante
4 Sarabande
5 Gavotte
6 Gigue
7 Passacaille

Deuxième Suite
8 Prelude
9 Fuguette
10 Pompe funèbre
11 La Chemise blanche

Les goûts rèunis, 1724

Douzième Concert a deux violes
12 (sans titre)
13 Badinage
14 Lentement, et pathetiquement
15 Air gracieusement, et légèrement

Treisième Concert à deux
16 Vivement
17 Air agréablement
18 Sarabande
19 Chaconne

Wieland Kuijken - viola da gamba
Kaori Uemura - viola da gamba
Robert Kohnen - harpsichord

Un bel dì vedremo - Maria Callas

Giacomo Puccini - Madama Butterfly

Un bel dì, vedremo 
Levarsi un fil di fumo 
Sull'estremo confin del mare 
E poi la nave appare 
E poi la nave è bianca.
Entra nel porto, romba il suo saluto. 
Vedi? è venuto!
Io non gli scendo incontro, io no. 
Mi metto là sul ciglio del colle 
E aspetto gran tempo 
e non mi pesa a lunga attesa. 
E uscito dalla folla cittadina 
Un uomo, un picciol punto 
S'avvia per la collina. 
Chi sarà? Chi sarà? 
E come sarà giunto 
Che dirà? Che dirà? 
Chiamerà Butterfly dalla lontana 
Io senza far risposta 
Me ne starò nascosta 
Un po' per celia, 
Un po' per non morire 
Al primo incontro, 
Ed egli al quanto in pena 
Chiamerà, chiamerà : 
"Piccina - mogliettina 
Olezzo di verbena" 
I nomi che mi dava al suo venire.
Tutto questo avverrà,
te lo prometto
Tienti la tua paura
Io con sicura fede lo aspetto.

Spring

Lanzhou,China,Apr.2007

Tracklist

Domenico Scarlatti (1685-1757)

Stabat mater a dieci voci e basso continuo

Joao Rodrigues Esteves (ca. 1700 - ca. 1755)

Missa a oito voces

Vocal Ensemble Currende
Elisabeth Hermans - soprano (*)
Jan van Elsacker - tenor (*)
Lidewij Scheifes, violoncello
Jacques Van der Meer, violone
Herman Stinders - organ
Conducted by Erik van Nevel
(*) Solos in Stabat mater

O mio babbino caro - Maria Callas 

Giacomo Puccini - Gianni Schicchi

O mio babbino caro,
mi piace è bello, bello;
vo'andare in Porta Rossa
a comperar l'anello!
Sì, sì, ci voglio andare!
e se l'amassi indarno,
andrei sul Ponte Vecchio,
ma per buttarmi in Arno!
Mi struggo e mi tormento!
O Dio, vorrei morir!

Babbo, pietà, pietà!
Babbo, pietà, pietà!

http://leihsueh.blogbus.com/files/11755290560.mp3

Dgon-lungbyams-pa-gling,Qinghai,China,Mar.2007

Dgon-lungbyams-pa-gling,Qinghai,China,Mar.2007

Dgon-lungbyams-pa-gling,Qinghai,China,Mar.2007

Dgon-lungbyams-pa-gling,Qinghai,China,Mar.2007

Dgon-lungbyams-pa-gling,Qinghai,China,Mar.2007

Dgon-lungbyams-pa-gling,Qinghai,China,Mar.2007

Dgon-lungbyams-pa-gling,Qinghai,China,Mar.2007

Dgon-lungbyams-pa-gling,Qinghai,China,Mar.2007