Vivaldi - 13 Cello Concertos | Christophe Coin

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Antonio Lucio Vivaldi (1678 — 1741)

Concertos for cello
Concerti per violoncello

Concerto for cello, strings and basso continuo in A minor, RV419
Concerto per violoncello, archi e basso continuo in la minore, RV 419

01. Allegro (00:00:01)
02. Andante
03. Allegro

Concerto for cello, strings and basso continuo in F major, RV410
Concerto per violoncello, archi e basso continuo in Fa maggiore, RV 410

01. Allegro (00:09:25)
02. Largo
03. Allegro

Concerto for cello, strings and basso continuo in G major, RV414
Concerto per violoncello, archi e basso continuo in sol maggiore, RV 414

01. Allegro molto (00:21:29)
02. Largo
03. Allegro

Concerto for cello, strings and basso continuo in D minor, RV406
Concerto per violoncello, archi e basso continuo in re minore, RV 406

01. Allegro non molto (00:31:24)
02. Andante
03. Minuetto

Concerto for cello, strings and basso continuo in C major, RV398
Concerto per violoncello, archi e basso continuo in do maggiore, RV 398

01. Allegro (00:42:00)
02. Largo
03. Allegro

Concerto for cello, strings and basso continuo in A minor, RV421
Concerto per violoncello, archi e basso continuo in la minore, RV 421

01. Allegro non troppo (00:49:42)
02. Largo
03. Allegro

Concerto for cello, strings and basso continuo in F major, RV411
Concerto per violoncello, archi e basso continuo in fa maggiore, RV 411

01. Allegro (00:57:43)
02. Largo
03. Allegro molto

Concerto for cello, strings and basso continuo in C minor, RV401
Concerto per violoncello, archi e basso continuo in do minore, RV 401

01. Allegro non molto (01:03:59)
02. Adagio
03. Allegro ma non molto

Concerto for cello, strings and basso continuo in E flat major, RV408
Concerto per violoncello, archi e basso continuo in Mi bemolle maggiore, RV 408

01. Allegro non molto (01:14:54)
02. Largo
03. Allegro

Concerto for cello, strings and basso continuo in G minor, RV417
Concerto per violoncello, archi e basso continuo in sol minore, RV 417

01. Allegro (01:24:51)
02. Andante
03. Allegro

Concerto for cello, strings and basso continuo in C major, RV399
Concerto per violoncello, archi e basso continuo in do maggiore, RV 399

01. Allegro (01:34:00)
02. Largo
03. Allegro

Concerto for cello, strings and basso continuo in D major, RV403
Concerto per violoncello, archi e basso continuo in re maggiore, RV 403

01. Allegro (01:41:00)
02. Andante e spiritoso
03. Allegro

Concerto for cello, strings and basso continuo in A minor, RV422
Concerto per violoncello, archi e basso continuo in la minore, RV 422

01. Allegro (01:48:51)
02. Largo cantabile
03. Allegro

Performers:
Violin solo: Enrico Onofri concertmaster
Violins I: Fabrizio Haim Cipriani*, Luca Giardini, Stefano Barneschi
Violins II: Elin Gabrielsson, Francesco Colletti, Marco Bianchi
Violas: Ernest Braucher*, Maria Cristina Vasi, Riccardo Minasi
Violone: Giancarlo De Frenza, Patxi Montero
Violoncello: Elena Russo, Paolo Beschi
Theorbo

Johann Sebastian Bach: Weihnachtsoratorium | lucerne chamber circle

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Live-Mitschnitt von Samstag, 17. Dezember 2016, 18.30 Uhr
KKL Luzern, Konzertsaal

Johann Sebastian Bach: Weihnachtsoratorium, BWV 248
1:00 Teil I
27:06 Teil II
56:06 Teil III
1:20:19 Teil VI

RIAS Kammerchor
Freiburger Barockorchester
Hans-Christoph Rademann, Leitung

Anna Lucia Richter, Sopran
Stefanie Irányi, Alt
Maximilian Schmitt, Tenor
Roderick Williams, Bass

Mozart - Piano Concertos No.11,12,13,14,17,18,19 Presentation (Centurys recording : Lili Kraus)

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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

St Matthew Passion, BWV 244, Pt. 1: Recitative. "Da ging hin der Zwölfen einer" [Evangelist,...

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Provided to YouTube by Warner Classics International

St Matthew Passion, BWV 244, Pt. 1: Recitative. «Da ging hin der Zwölfen einer» [Evangelist, Judas] · Nikolaus Harnoncourt · Kurt Equiluz · Max van Egmond

Bach: St Matthew Passion, BWV 244

℗ 1970 TELDEC CLASSICS INTERNATIONAL GMBH

Orchestra: Concentus Musicus Wien
Tenor Vocals: Kurt Equiluz
Bass Vocals: Max van Egmond
Conductor: Nikolaus Harnoncourt
Composer: Johann Sebastian Bach

Auto-generated by YouTube.

G.F. Händel - Messiah, HWV 56 (Collegium

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From Dvorak Hall, Rudolfinum in Prague, 2016
Oratorio performed by Collegium 1704 under the baton of Václav Luks

Watch the full oratorio: bit.ly/TB-Handel-Messiah-Collegium1704
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Collegium 1704
Collegium Vocale 1704
Marie-Sophie Pollak — soprano
Raffaele Pe — countertenor
Krystian Adam — tenor
Kresimir Strazanac — bass
Václav Luks — conductor

George Frideric Händel — Messiah, HWV 56 — Part 1
1:40 Scene 1: Isaiahs prophecy of salvation
1. Sinfonie (instrumental)
2. Comfort ye my people (tenor)
3. Evry valley shall be exalted (air for tenor)
4. And the glory of the Lord (anthem chorus)

13:40 Scene 2: The coming judgment
5. Thus saith the Lord of hosts (accompanied recitative for bass)
6. But who may abide the day of His coming (soprano, alto or bass)
7. And he shall purify the sons of Levi (chorus)

21:34 Scene 3: The prophecy of Christs birth
8. Behold, a virgin shall conceive (alto)
9. O thou that tellest good tidings to Zion (air for alto and chorus)
10. For behold, darkness shall cover the earth (bass)
11. The people that walked in darkness have seen a great light (bass)
12. For unto us a child is born (duet chorus)

37:02 Scene 4: The annunciation to the shepherds
13. Pifa («pastoral symphony»: instrumental)
14a. There were shepherds abiding in the fields (secco recitative for soprano)
14b. And lo, the angel of the Lord (accompanied recitative for soprano)
15. And the angel said unto them (secco recitative for soprano)
16. And suddenly there was with the angel (accompanied recitative for soprano)
17. Glory to God in the highest (chorus)

42:55 Scene 5: Christs healing and redemption
18. Rejoice greatly, O daughter of Zion (soprano)
19. Then shall the eyes of the blind be opened (secco recitative for soprano or alto)
20. He shall feed his flock like a shepherd (alto and/or soprano)
21. His yoke is easy (duet chorus)