Impress

Marin Marais
Pièces de Viole du Cinquième Livre

ACC 10044 ; recorded 1987-03-01 ; published 2007-05-01

Tracklist

Marin Marais (1656 - 1728):

Suite g minor
1 Prélude
2 Fantasie
3 Allemande "La Marianne"
4 Sarabande
5 Gigue "La Pagode"
6 Le Tombeau pour Marais le Cadet

7 Chaconne G major

8 Dialogue
9 Le Jeu du Volant
10 Le Tableau de l'Operation de la Taille

Suite in a minor
11 Prélude "Le Soligni"
12 Petit Caprice
13 Allemande "La Facile"
14 Sarabande
15 Grande Gavotte
16 Menuet
17 "La Mariée"
18 Gigue "La Mutine"
19 La Bagatelle
20 Rondeau

21 La Poitevine

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

Suite in a minor

17 "La Mariée"

Bach - Six suites pour violoncelle BWV 1007-1012

Disque : 1
   
1. Suite N°1 En Sol Majeur, Bwv1007  I Prélude

Bach, Johann Sebastian
Cantatas for the complete liturgical year Vol.II
Cantatas BWV 177 - 93 - 135

ACC 25302 ; recorded 2005-07-01 ; published 2006-01-01

Tracklist

Johann Sebastian Bach (1685-1750):

Cantatas for the complete liturgical year Vol. II

Cantata BWV 177 "Ich ruf zu dir, Herr Jesu Christ"
4th Sunday after Trinity

Cantata BWV 93 "Wer nur den lieben Gott lässt walten"
5th Sunday after Trinity

Cantata BWV 135 "Ach Herr, mich armen Sünder"
3rd Sunday after Trinity

Siri Thornhill, soprano
Petra Noskaiová, alto
Christoph Genz, tenor
Jan van der Crabben, baritone

La Petite Bande
Dir. Sigiswald Kuijken

Cantata BWV 177 "Ich ruf zu dir, Herr Jesu Christ"
4th Sunday after Trinity

3. Aria (soprano): "Verleih, dass ich aus Herzensgrund"

Bach, Johann Sebastian
Cantatas for the complete Liturgical Year Vol.I
Cantatas BWV 98 - 180 - 56 - 55

ACC 25301 ; recorded 2004-10-01 ; published 2006-01-01

Tracklist

Johann Sebastian Bach (1685-1750):
Cantatas for the complete liturgical year Vol. I

Cantata BWV 98 "Was Gott tut, das ist wohl getan"
21st Sunday after Trinity

Cantata BWV 180 "Schmücke dich, o liebe Seele"
20th Sunday after Trinity

Cantata BWV 56 "Ich will den Kreuzstab gerne tragen"
19th Sunday after Trinity

Cantata BWV 55 "Ich armer Mensch, ich Sündenknecht"
22nd Sunday after Trinity

Sophie Karthäuser, soprano
Petra Noskaiová, alto
Christoph Genz, tenor
Dominik Wörner, bass-baritone

La Petite Bande
Dir. Sigiswald Kuijken

Cantata BWV 98 "Was Gott tut, das ist wohl getan"
21st Sunday after Trinity

01.Chorale: Was Gott tut das ist wohlgetan

J.S.Bach - La Petite Band · S.Kuijken - Cantatas for the complete Liturgical Year

 至尊日波益西仁波切弹奏曼陀铃 弟子克宇吉他伴奏

Historical Anthology - The Bach Guild 

Period V: THE BAROQUE (Late)
Category F: Johann Sebastian Bach
Sub-category 1: Works for Keyboard
Musicological Advisor: Martin Bernstein,
  Prof. Emeritus of Music,
  New York University

Sources: Autograph in Berlin Deutsche
  Staatsbibliothek, Mus. Ms. Bach P200,1749-50.
  In notes below, Gr. indicates W. Graeser,
  Breitkopf & Hartel, Leipzig, 1927; D. indicates
  Hans T. David, Peters, Leipzig, 1928.
Editions: Prepared by Gustav Leonhardt

JOHANN SEBASTIAN BACH

                              ART OF FUGUE

CD I

01.Simple Fugue(Gr.I, D.I)                         5:11

02.Simple Fugue—theme inverted             3:30
     (Gr.III, D.II)
03.Simple Fugue(Gr.II, D.III)                     3:37
04.Simple Fugue—theme inverted             7:26
     (Gr.IV, D.IV)
05.Fugue in contrary motion (Gr.V, D.IX)   4:07
06.Double Fugue in the 12th (Gr.IX, D.VI) 2:48
07.Double Fugue in the 10th (Gr.X, D.VII) 5:15
08.Fugue in contrary motion, with             4:06 
    diminution (Gr.VI, D.Χ)
09.Canon in the 10th (Gr.XIV, D.VIII)         6:38
10.Fugue in contrary motion,                     5:08
     with double augmentation (Gr.VII, D.ΧI)
11.Canon in the 12th (Gr.X111, D.V)          1:58

TT: 49:56

CD II
 
01.Canon in the octave (Gr.XII, D.XII)       2:31

02.Triple Fugue—three voice                     5:46
     (Gr.VI11, D.XIII)
03.Triple Fugue—four voice (Gr.XI, D.XIV)  6:47
04.Canon in contrary motion,                    3:18
     by augmentation (Gr.XV, D. XV)
05.Mirror Fugue (Gr.XVIIIa., D. XVI)           3:04
06.Mirror Fugue—inverse of 05                  3:12
     (Gr.XVIIIb., D. XVII)
07.Mirror Fugue (Gr.XVI a., D.XVIII)           2:39

08.Mirror Fugue—inverse of 07                  2:42
     (Gr. XVIb., D.XIX)
09.Unfinished Fugue, on BACH                   6:46
     (Cr. XIX, D. XX) 

TT: 37:00

Gustav Leonhardt, harpsichord

Producer. Seymour Solomon
Engineer Mario Mizzaro
Digital Remastering: David Baker
Art Direction: Fred Holtz
© & © 1993 Omega Record Group, Inc.
27 W. 72nd Street, New York, NY 1(()23 Printed in USA
REMASTERED USING B & W MATRIX 801 LOUDSPEAKERS

Bach, Johann Sebastian
Oboe concertos

ACC 24165 ; recorded 2004-04-01 ; published 2005-03-15

Tracklist

Johann Sebastian Bach (1685-1750):

Oboe concertos

Concerto in F-major for oboe, strings and basso continuo BWV 1053a
1 Allegro
2 Siciliano
3 Allegro

Concerto in c-minor for oboe and violin, strings and basso continuo BWV 1060a
4 Allegro
5 Adagio
6 Allegro

Concerto in A-major for oboe d'amore, strings and basso continuo
BWV 1055a
7 (Allegro)
8 Larghetto
9 Allegro man non tanto

Concerto in d-minor for oboe, strings and basso continuo BWV 1059R
10 Allegro
11 Adagio
12 Presto

Gustav Mahler:
13 "Ich bin der Welt abhanden gekommen"
arranged for oboe da caccia, strings and harpsichord by Marcel Ponseele

Marcel Ponseele, oboe / oboe d'amore / oboe da caccia
Ryo Terakado, violin

Il Gardellino

Concerto in c-minor for oboe and violin, strings and basso continuo BWV 1060a

4 Allegro

You are the same as before

Каким ты был, таким остался,        
Орел степной, казак лихой...        
Зачем, зачем ты снова повстречался,
Зачем нарушил мой покой?            

Затем опять в своих утратах         
Меня ты хочешь обвинить?            
В одном, в одном я только виновата,
Что нету сил тебя забыть.           

Свою судьбу с твоей судьбою         
Пускай связать я не могла,          
Но я жила, жила одним тобою,        
Я всю войну тебя ждала.             

Ждала, когда наступят сроки,        
Когда вернешься ты домой.           
И горьки мне, горьки твои упреки,   
Горячий мой, упрямый мой.           

Твоя печаль, твоя обида,            
Твои тревоги - ни к чему:           
Смотри, смотри - душа моя открыта,  
Тебе открыта одному.                

Но ты взглянуть не догадался,       
Умчался вдаль, казак лихой...       
Каким ты был, таким ты и остался,   
Но ты и дорог мне такой.            

1948

《从前你这样》— 伊萨科夫斯基

你过去是这样，你现在还是这样，
勇敢的哥萨克，草原的鹰！
为什么我们又相逢，
为什么你破坏了我的安静？

你自己的损失
为什么又要怪罪我呢？
我的罪过只有一点，
那就是我不能把你忘记。

虽然我不能把自己的命运
和你的命运连结在一起，
但我生活中只爱一个人
在整个战争中我在等待着你。

我等待着，当时期到来，
你能回到家里……
你的责备使我很难过，
我的热情而又固执的人儿！……

你的痛苦，你的委屈，
你的担心找不出任何道理：
看，我的心的坦露着，
只坦露给一个人——你。

看来你并没有猜到，
勇敢的哥萨克，你奔向远方……
我爱着的正是你呵，
你过去是这样，你现在还是这样。

（1948年）

Wolfgang Amadeus Mozart
Flute Quartets

ACC 48225 ; recorded 1982-03-01 ; published 1994-07-10

Tracklist

Wolfgang Amadeus Mozart (1756-1791)

Quartet D major KV 285

1 Allegro
2 Adagio
3 Rondeau

Quartet G major KV 285a

4 Andante
5 Tempo di menuetto

Quartet C major KV 285b

6 Allegro
7 Tema con variazioni

Quartet in A major KV 298

8 Tema con variazioni
9 Menuetto
10 Rondieaoux (Allegretto grazioso, ma non troppo adagio, pero non troppo adagio. Cosi cosi - non molto garbo ed espressione.)

Barthold Kuijken, transverse flute
Sigiswald Kuijken, violin
Lucy van Dael, viola
Wieland Kuijken, violoncello

8 Tema con variazioni

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.