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00:00:00 — Overture (Suite) No. 3 in D Major, BWV 1068: II. Air, «Air on a G String»
00:04:57 — Brandenburg Concerto No. 2 in F Major, BWV 1047
00:09:25 — Concerto for 2 Violins in D Minor, BWV 1043
00:12:58 — Harpsichord Concerto in F Minor, BWV 1056: II. Largo
00:15:48 — Harpsichord Concerto in D Major, BWV 1045
00:23:10 — Violin Concerto in E Major, BWV 1042
00:30:32 — Concerto for Flute, Violin, Harpsichord and Strings in A Minor, BWV 1044, «Triple Concerto»
00:38:19 — Brandenburg Concerto No. 3 in G Major, BWV 1048
00:43:01 — Concerto for Violin and Oboe in C Minor, BWV 1060: I. Allegro
00:48:00 — Harpsichord Concerto in E Major, BWV 1053
00:55:36 — Orchestral Suite No. 2 in B Minor, BWV 1067: VII. Badinerie
00:56:55 — Toccata and Fugue in D Minor, BWV 565: Toccata
00:59:52 — Goldberg Variations, BWV 988: I. Aria
01:03:49 — Cello Suite No. 1 in G Major, BWV 1007: Prelude
01:06:20 — Concerto in the Italian Style, BWV 971, «Italian Concerto»: I. Allegro
01:10:07 — Herz und Mund und Tat und Leben, BWV 147: X. Jesu, joy of mans desiring (arr. M. Hess)
01:13:21 — Violin Partita No. 3 in E Major, BWV 1006: I. Preludio
01:17:20 — Brandenburg Concerto No. 4 in G Major, BWV 1049: I. Allegro
01:23:41 — Well-Tempered Clavier, Book I: Prelude and Fugue No. 1 in C Major, BWV 846
01:28:04 — Anna Magdalena Notenbuch: Minuet in G Major, BWV Anh 114
01:29:36 — Violin Concerto in A Minor, BWV 1041: III. Allegro assai
01:33:21 — Kommt, eilet und laufet, BWV 249, «Easter Oratorio»: Adagio
01:38:24 — Cantata Nº 208, Sheep May Safely Graze, BWV 208
01:42:55 — Air on the G String Suite No. 3, BWV 1068
01:46:21 — Double Violin Concerto in D minor BWV1043 — Largo ma non tanto

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ABOUT THE CONCERT

Performed live in March this year, shortly before the Centre had to close the its doors due to coronavirus, our Signature Event saw standing ovations for the players of Freiburg Baroque, Bezuidenhout and their masterful interpretations of Beethoven. Now you can relieve this performance online or enjoy it for the very first time.

View the program notes for this concert here: mrc-assets.s3.amazonaws.com/assets/File/10286.pdf

PROGRAM

Ludwig van Beethoven
Piano Concerto No.1 in C, Op.15
Piano Concerto No.2 in B flat, Op.19
Piano Concerto No.3 in C minor, Op.37

Johann Sebastian Bach ( 1685 — 1750 )

The Art of Fugue, BWV.1080

00:00 Contrapunctus 1
02:52 Contrapunctus 3
05:32 Contrapunctus 2
08:08 Contrapunctus 4
12:25 Contrapunctus 7
16:51 Contrapunctus 5
20:18 Contrapunctus 6
24:42 Contrapunctus 10
29:20 Contrapunctus 9
32:18 Contrapunctus 9
37:51 Contrapunctus 8
44:15 Contrapunctus 12a *
46:30 Contrapunctus 12b *
48:39 Contrapunctus 13a
50:55 Contrapunctus 13b
53:16 Contrapunctus 19
01:02:08 Contrapunctus 16
01:07:05 Contrapunctus 14
01:11:00 Contrapunctus 15
01:15:37 Contrapunctus 17

André Isoir, organist
* played four-handed with Pierre Farago
Rec. Saint-Cyprien-en-Périgord, 1998 ( La Dolce Volta )

Dedicated to dearest best friend

Georg Friedrich Haendel
Admeto, Re di Tessaglia: ouverture

From the Festival d’Ambronay, 2012
Contralto Nathalie Stutzmann conducts violinist Satomi Watanabe and Orfeo 55
Johann Sebastian Bach — Saint Matthew Passion «Ebarme Dich, mein Gott» BWV 244

Click here to watch other concerts at the Festival dAmbronay: bit.ly/ConcertsFestivaldAmbronay
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Satomi Watanabe — violinist
Nathalie Stutzmann — contraalto and conductor
Orfeo 55

A coproduction of
Ozango — Le Festival d’Ambronay
with the participation of France Télévisions
in association with M_Media
with the support of Centre National du Cinéma et de limage animée

Video director: Isabelle Soulard

Performing the first movement of Bachs Keyboard Concerto No. 1 in D minor, BWV 1052, with Leonard Bernstein conducting the New York Philharmonic. Goulds performance begins at 18:03.

Originally aired on January 31, 1960 on CBS Television as part of its Ford Presents series, this program was entitled «The Creative Performer.» The entire show is actually three performances — by Gould, the soprano Eileen Farrell (singing the «Suicidio!» aria from *La Gioconda*),

Provided to YouTube by Warner Classics International

St Matthew Passion, BWV 244, Pt. 1: Chorale. «Herzliebster Jesu, was hast du verbrochen» · Nikolaus Harnoncourt · Choir of Kings College, Cambridge · Regensburger Domspatzen

Bach: St Matthew Passion, BWV 244

℗ 1970 TELDEC CLASSICS INTERNATIONAL GMBH

Choir: Choir of Kings College, Cambridge
Orchestra: Concentus Musicus Wien
Conductor: Nikolaus Harnoncourt
Chorus: Regensburger Domspatzen
Composer: Johann Sebastian Bach

Auto-generated by YouTube.

Provided to YouTube by IDOL

Nocturne in G Minor, Op. 15 No. 3: «A Monsieur F. Hiller» · François Chaplin

Chopin: Nocturnes

℗ 2013 Zig-Zag Territoires
℗ Anima Eterna

Released on: 2010-03-01

Composer: Frédéric Chopin

Auto-generated by YouTube.

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Composer: Franz Schubert
Artists: Alberto Miodini (piano)

When we look past the extended meditations of the sonatas into the rest of Schubert’s piano music, we tend hardly to see beyond the Wanderer Fantasy and the Impromptus. This undervalues the composer’s contribution to the work for his instrument, as the Italian pianist Alberto Miodini reveals on an extensive exploration of the sometimes slighter and lighter but often just shorter works he composed through his all-too-short career. Perhaps the late Klavierstücke D946 are best known, and justly so, for their profound and ruminative contemplation, and Miodini’s fellow-countryman Paolo Bordoni did sterling work for the Waltzes in 1970s recordings that stand the test of time, but there are still tantalising fragments that are no less worth hearing for their frustratingly unfinished status – the ‘Unfinished’ Symphony was by no means the only musical project that Schubert filed in his creative bottom drawer, so fecund was his compositional imagination that he could hardly get the ideas out fast enough. As noted by Alfred Brendel, Schubert chose to interrupt a composition ‘when it was unsatisfying or no longer interesting’ – evidence of the composer’s vigorous pursuit of his own individual Sonata style. Among the complete works here are equally little-known variation sets on melodies by Hüttenbrenner and Diabelli – works full of characteristically Schubertian energy and motive power.

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