Johann Sebastian Bach (1685-1750)
The Well-Tempered Clavier, Book II

Rosalyn Tureck, Piano

The Concert Hall, Broadcasting House, London

Preludes

Today’s talents will be tomorrow’s legends. Please Subscribe to our New channel @PAINTED.
Discover and Empower classical music Artists all around the World!
www.youtube.com/channel/UCTdFciYWomCnjgKtOT6idXg
———
Georg Friedrich Haendel (1685-1759) — The Keyboard Suites
*Click to activate the English subtitles for the presentation* (00:00-01:48)
Keyboard Suite No.2 in F
I.Adagio (00:00) II.Allegro (03:28)
III.Adagio (05:41) IV.Fuga: Allegro (07:26)

Keyboard Suite No.3 in D minor
I.Prélude: Presto (10:02) II.Fuga: Allegro (11:04)
III.Allemande: Andantino quasi allegretto (13:26)
IV.Courante (16:57) V.Air: Lento non troppo (18:47)
VI.Presto (29:10)

Keyboard Suite No.5 in E
I.Prélude: Allegro moderato (33:49)
II.Allemande: Andantino quasi allegretto (35:37)
III.Courante: Allegro (40:24)
IV.Air con variazioni: Andantino (42:40)

Keyboard Suite No.8 in F minor
I.Prélude: Allegro (47:10) II.Fuga: Allegro (49:57)
III.Allemande: Allegro moderato (53:03)
IV.Courante: Allegro (55:55) V.Gigue: Presto (57:49)

Keyboard Suite No.9 in G minor
I.Allemande: Allegro con fuoco (1:00:05)
II.Courante: Allegro vivace (1:05:20)
III.Gigue: Presto (1:09:13)

Keyboard Suite No.12 in E minor
I.Allemande: Andante (1:13:49)
II.Sarabande: Allegro moderato (1:17:00)
III.Gigue: Vivo (1:20:05)

Keyboard Suite No.14 in G
I.Allemande (1:23:18) II.Allegro (1:25:18)
III.Courante: Allegro vivace (1:27:57)
IV.Air: Presto (1:30:55) V.Menuet: Vivace (1:32:27)
VI.Gavotte: Allegro (1:34:46) VII.Gigue: Presto (1:39:33)

Keyboard Suite No.16 in G minor
I.Allemande: Andantino quasi allegretto (1:41:59)
II.Courante: Allegro assai (1:44:34)
III.Sarabande: Andante (1:46:39)
IV.Gigue: Presto (1:50:11)

Piano: Sviatoslav Richter
Live recording in 1979, at France, Château de Marcilly-Sur-Maulne (Tours Festival)
Find CMRRs recordings on Spotify: spoti.fi/3016eVr

Handel — Complete Keyboard Suites / Grande Sarabande (Century’s recording: Eric Heidsieck) www.youtube.com/watch?v=HrXOVNzTeKo

Today’s talents will be tomorrow’s legends. Please Subscribe to our New channel @PAINTED.
Discover and Empower classical music Artists all around the World!
www.youtube.com/channel/UCTdFciYWomCnjgKtOT6idXg
———
Wolfgang Amadeus Mozart (1756-1791) — Piano Concertos 11,12,13,14,17,18,19.
*Click to activate the English subtitles for the presentation* (00:00-06:45)
A very big « THANKS » to Sony Music who authorized us to release this recording.
Piano Concerto #11 in F major, K.413_ I.Allegro (00:00)
Piano Concerto #11 in F major, K.413_ II.Larghetto (09:24)
Piano Concerto #11 in F major, K.413_ III.Tempo di menuetto (17:14)

Piano Concerto #12 in A major, K.414_ I.Allegro (23:04)
Piano Concerto #12 in A major, K.414_ II.Andante (32:41)
Piano Concerto #12 in A major, K.414_ III.Rondo. Allegretto (41:06)

Piano Concerto #13 in C major, K.415_ I.Allegro (47:39)
Piano Concerto #13 in C major, K.415_ II.Andante (58:15)
Piano Concerto #13 in C major, K.415_ III.Rondeau_Allegro-Adagio-Allegro (1:05:43)

Piano Concerto #14 in E flat major, K.449_ I.Allegro vivace (1:14:04)
Piano Concerto #14 in E flat major, K.449_ II.Andantino (1:23:08)
Piano Concerto #14 in E flat major, K.449_ III.Allegro ma non troppo (1:29:10)

Piano Concerto #17 in G major, K.453_ I.Allegro (1:35:41)
Piano Concerto #17 in G major, K.453_ II.Andante (1:47:16)
Piano Concerto #17 in G major, K.453_ III.Allegretto — Finale_ Presto (1:56:19)

Piano Concerto #18 in B flat major, K.456_ I.Allegro vivace (2:04:33)
Piano Concerto #18 in B flat major, K.456_ II.Andante un poco sostenuto (2:16:26)
Piano Concerto #18 in B flat major, K.456_ III.Allegro vivace (2:26:43)

Piano Concerto #19 in F major, K.459_ I.Allegro (2:34:12)
Piano Concerto #19 in F major, K.459_ II.Allegretto (2:46:43)
Piano Concerto #19 in F major, K.459_ III.Allegro assai (2:55:02)

Piano: Lili Kraus
Vienna Festival Orchestra
Direction: Stephen Simon
Recorded in 1965-66
New Mastering 2017 by AB for CMRR
Find CMRRs recordings on Spotify: spoti.fi/3016eVr

COMMENTAIRE COMPLET: VOIR PREMIER COMMENTAIRE ÉPINGLÉ.
La véritable conception du concerto, l’essence du genre consiste dans la lutte qui se livre entre lorchestre, dune part, et linstrument ou le groupe dinstruments solos de lautre. Cette lutte est entrecoupée de trêves pendant lesquelles orchestre et soliste collaborent amicalement, et elle se termine par une réconciliation; elle nen est pas moins une lutte véritable. Tantôt, les armes sont communes aux deux adversaires: ce sont les thèmes principaux qui reviennent dans les soli et dans les tuttis; tantôt, chacun a les siennes: ce sont dautres thèmes réservés au soliste, et dautres, enfin, qui nappartiennent quà lorchestre.

Les péripéties de la lutte sont diverses: elle peut rester indécise et solo et orchestre se renvoient alors les thèmes de lun à lautre; le tutti peut remporter une victoire momentanée et claironner bruyamment son triomphe; ou bien, le soliste, à coups daccords, de gammes et darpèges, peut voir ses efforts couronnés de victoire, et, dans un trille étincelant, narguer lorchestre vaincu. Mais, quelle que soit lissue momentanée, nous savons quen fin de compte ni lun ni lautre ne triomphera et que la dernière cadence scellera paix et alliance entre les ennemis réconciliés.

Or, de tous les concertos, ceux de Mozart forment le groupe le plus important. Cest une raison pour laquelle ils ont droit à une étude spéciale. Il en existe une autre. Il ny a pas, dans toute lœuvre de leur compositeur, de genre où il se soit exprimé dune manière aussi complète. Ses concertos pour piano, échelonnés à travers ses années depuis sa dix-huitième jusquà sa trente-sixième, nous le présentent à tous les âges; ils constituent le témoignage le plus varié et le plus étendu de sa vie artistique.

Nous y retrouvons ses joies et ses tristesses, ses espérances et ses déceptions; nous pénétrons par eux dans ce sanctuaire intérieur, où lhomme harassé et surmené retrouvait la vie fraîche et rayonnante qui ne cessa jamais de renaître au fond de son coeur. Dans presque tous les genres si divers où il a prodigué ses richesses, on trouve une ou deux œuvres qui comptent parmi ses plus belles, mais aucun de ces genres n’offre une succession de chefs-dœuvre aussi abondante que celle des concertos pour piano.

Mozart — Piano Concertos 9 Jeunehomme,15,16,1,2,3,4,5,6,8 (Centurys recording: Lili Kraus/Simon)
www.youtube.com/watch?v=FHwmL8Md22w

Franz Schubert

Piano sonata D.960

I. Molto moderato 0:00
II. Andante sostenuto 24:35
III. Scherzo. Allegro vivace con delicatezza 34:41
IV. Allegro, ma non troppo 38:35

Sviatoslav Richter
Studio recording, Salzburg, 6, 9

Samuel Feinberg (1890- 1962),
was a Russian and Soviet composer and pianist.

Johann Sebastian Bach (1685- 1750)
The Well-Tempered Clavier
Book 1

00:00 Prelude No.1 in C major, BWV 846
02:34 Fugue
04:45 Prelude No.2 in C minor, BWV 847
06:12 Fugue
07:42 Prelude No.3 in C♯ major, BWV 848
09:09 Fugue
11:05 Prelude No.4 in C♯ minor, BWV 849
13:56 Fugue
18:56 Prelude No.5 in D major, BWV 850
20:07 Fugue
21:59 Prelude No.6 in D minor, BWV 851
23:25 Fugue
25:40 Prelude No.7 in E♭ major, BWV 852
28:48 Fugue
30:21 Prelude No.8 in E♭ minor, BWV 853
34:40 Fugue
39:34 Prelude No.9 in E major, BWV 854
40:46 Fugue
41:50 Prelude No.10 in E minor, BWV 855
44:21 Fugue
45:31 Prelude No.11 in F major, BWV 856
46:33 Fugue
47:38 Prelude No.12 in F minor, BWV 857
49:32 Fugue
54:53 Prelude No.13 in F♯ major, BWV 858
56:10 Fugue
57:53 Prelude No.14 in F♯ minor, BWV 859
58:56 Fugue
1:02:54 Prelude No.15 in G major, BWV 860
1:03:37 Fugue
1:06:03 Prelude No.16 in G minor, BWV 861
1:07:57 Fugue
1:10:52 Prelude No.17 in A♭ major, BWV 862
1:12:11 Fugue
1:14:56 Prelude No.18 in G♯ minor, BWV 863
1:16:23 Fugue
1:18:42 Prelude No.19 in A major, BWV 864
1:19:41 Fugue
1:21:35 Prelude No.20 in A minor, BWV 865
1:22:46 Fugue
1:27:05 Prelude No.21 in B♭ major, BWV 866
1:28:17 Fugue
1:29:52 Prelude No.22 in B♭ minor, BWV 867
1:32:17 Fugue
1:35:25 Prelude No.23 in B major, BWV 868
1:36:30 Fugue
1:38:51 Prelude No.24 in B minor, BWV 869
1:43:28 Fugue

(My favorite CD transfer of famous Feinberg’s Bach WTC.)

Provided to YouTube by harmonia mundi

Matthäus-Passion, BWV 244, Erster Teil: 1. Chorus I

Andreas is a Countertenor. Born into a family of singers, Scholl was enrolled at the age of seven into the boys choir. Aged 13, he was chosen from 20,000 choristers gathered in Rome from around the world to sing solo at a Mass held on 4 January 1981. Just four years later, Scholl was offered a place at the Schola Cantorum Basiliensis, an institution that normally accepts only post-graduate students, based on the strength and quality of his voice. He has since become an instructor at the Schola Cantorum Basiliensis, succeeding his own teacher, Richard Levitt.

Scholls early operatic roles include his standing in for René Jacobs in 1993 at the Théâtre Grévin in Paris, where he caused a sensation. His major roles, such as his debut at Glyndebourne in 1998 as Bertarido in Handels Rodelinda, a role he reprised at the Metropolitan Opera in 2006, were written for the 18th-century alto castrato Senesino.

The bulk of Scholls recording career has been with Harmonia Mundi and Decca, and his CDs are among Harmonia Mundis best sellers. He has worked with most contemporary Baroque specialists, including William Christie and Philippe Herreweghe, and is himself a songwriter and composer of ballet and theatre music, with his own professional sound studio in Basel, Switzerland.

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
Subscribe for more content: goo.gl/ZWoSxm

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

BWV244 Matthaus Passion
Philippe Herreweghe 1984