Mozart : Requiem (Orchestre national de France / James Gaffigan)

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James Gaffigan dirige lOrchestre national de France et le Choeur de Radio France dans le Requiem en ré mineur K.626 de Wolfgang Amadeus Mozart, avec la soprano Marita Solberg, la mezzo-soprano Karine Deshayes, le ténor Joseph Kaiser, et la basse Alexander Vinogradov. Concert enregistré le 29 juin 2017 en direct de la basilique de Saint-Denis dans le cadre du Festival de saint-Denis.

#Mozart #MozartRequiem #OrchestreNationalDeFrance

00:00 — Début du concert
01:19 — I. Introïtus
02:00 — Requiem
05:46 — II. Kyrie
08:13 — III. Sequentia. Dies Irae
10:09 — Tuba mirum
13:29 — Rex tremendae
15:31 — Recordare
20:27 — Confutatis
22:49 — Lacrimosa
25:52 — IV. Offertorium Domine Jesu Hostias
32:52 — V. Sanctus
34:30 — VI. Benedictus
38:52 — VII. Agnus Dei
41:45 — VIII. Communio — Lux Aeterna

A propos de l’œuvre:

Mozart croule sous les problèmes quand il entreprend l’écriture de son Requiem en 1791. Accablé par les dettes, le maestro viennois est aussi gravement malade. Pour ajouter à son malheur, sa musique ne séduit plus, la fréquentation de ses concerts diminue.

On ne compte plus les légendes qui entourent le contexte de création de l’œuvre. Mais parmi elles, une vérité se dessine. Le commanditaire de l’œuvre serait le comte von Walsegg, désireux d’obtenir une messe des morts pour célébrer le souvenir de son épouse, tout juste disparue. La demande est faite à Mozart de manière anonyme. Le comte souhaitait en effet se faire passer pour lauteur de l’œuvre, une supercherie dont il était familier!

Épuisé, Mozart s’éteint le 5 décembre 1791 à lâge de 35 ans. S’il a probablement composé entièrement les deux premières parties de l’œuvre, l’Introïtus et le Kyrie, le reste a été repris en main par l’un de ses élèves, Franz-Xaver Süssmayr, à partir d’esquisses plus ou moins détaillées.

Distribution:

Marita Solberg, soprano
Karine Deshayes, mezzo-soprano
Joseph Kaiser, ténor
Alexander Vinogradov, basse
Chœur de Radio France,
Nicolas Fink, chef de chœur
Orchestre National de France,
James Gaffigan, direction

A propos du compositeur Wolfgang Amadeus Mozart (1756 — 1791):

Wolfgang Amadeus Mozart est l’un des compositeurs les plus importants de l’histoire de la musique occidentale, et la figure majeure de la période du classicisme. Il fait partie avec Haydn et Beethoven de la « triade classique viennoise », incarnant l’un des trois maîtres dont l’influence a été la plus considérable sur les générations suivantes de compositeurs. Virtuose du clavecin et du violon, il connaît un succès précoce et une carrière fulgurante, en portant toutes les formes musicales existantes à un état d’accomplissement inégalé.

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Fantasias for the Viols, 1680. Henry Purcell (1659 - 1695)

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Henry Purcell (1659 — 1695). Fantasias for the Viols, 1680

* Fantasiaupon one note

3 Fantasias in 3 parts
* Fantasia I
* Fantasia II
* Fantasia III

3 Fantasias en 4 parts
* Fantasia IV
* Fantasia V
* Fantasia VI

* In Nomine in 6 parts

3 Fantasias in 4 parts
* Fantasia VII
* Fantasia VIII
* Fantasia IX

3 Fantasias en 4 parts
* Fantasia X
* Fantasia XI
* Fantasia XII

* In Nomine in 7 parts

HESPÈRION XX
— Jordi Savall, dessus de viole
— Wieland Kuijken, basse de viole
— Sophie Watillon, autecontre de viole
— Eunice Brandao, ténor de viole
— Sergi Casademunt, ténor de viole
— Marianne Müller, basse de viole
— Philippe Pierlot, basse de viole

A. Vivaldi: Concerti per Flauto Traversiere [Academia Montis Regalis - B.Kuijken]

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Antonio Vivaldi

CONCERTO in E Minor RV 432:
I. Allegro

CONCERTO in G Major RV 436:
I. Allegro
II. Largo
III. Allegro

CONCERTO in D Major RV 429:
I. Allegro
II. Andante
III. Allegro

CONCERTO in A Minor RV 440:
I. Allegro non Molto
II. Larghetto
III. Allegro

CONCERTO in C Major RV 533:
I. Allegro Molto
II. Largo
III. [Allegro]

CONCERTO in G Major RV 438:
I. Allegro
II. Andante
III. Allegro

CONCERTO in G Major RV 438 «bis»:
I. [Allegro]

CONCERTO in D Major RV 427:
I. Allegro
II. Largo
III. [Allegro]

CONCERTO in E Minor RV 431:
I. Allegro
II. Allegro

Academia Montis Regalis
Barthold Kuijken [flauto traversiere, direction]

J.S. Bach, The Art of Fugue, BWV.1080 / André Isoir ( 1998 )

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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 )

BAROQUE MUSIC FOR BRAIN POWER - HISTORY OF BAROQUE MUSIC, COMPOSERS

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Baroque music is a period or style of Western art music composed from approximately 1600 to 1750. This era followed the Renaissance music era, and was followed in turn by the Classical era. Baroque music forms a major portion of the «classical music» canon, and is now widely studied, performed, and listened to. Key composers of the Baroque era include Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel, Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, Tomaso Albinoni, François Couperin, Giuseppe Tartini, Heinrich Schütz, Giovanni Battista Pergolesi, Dieterich Buxtehude, and Johann Pachelbel.
The Baroque period saw the creation of common-practice tonality, an approach to writing music in which a song or piece is written in a particular key; this kind of arrangement has continued to be used in almost all Western popular music. During the Baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts. Baroque concerts were typically accompanied by a basso continuo group (comprising chord-playing instrumentalists such as harpsichordists and lute players improvising chords from a figured bass part) while a group of bass instruments—viol, cello, double bass—played the bassline. A characteristic Baroque form was the dance suite. While the pieces in a dance suite were inspired by actual dance music, dance suites were designed purely for listening, not for accompanying dancers.
During the period, composers and performers used more elaborate musical ornamentation (typically improvised by performers), made changes in musical notation (the development of figured bass as a quick way to notate the chord progression of a song or piece), and developed new instrumental playing techniques. Baroque music expanded the size, range, and complexity of instrumental performance, and also established the mixed vocal/instrumental forms of opera, cantata and oratorio and the instrumental forms of the solo concerto and sonata as musical genres. Many musical terms and concepts from this era, such as toccata, fugue and concerto grosso are still in use in the 2010s. Dense, complex polyphonic music, in which multiple independent melody lines were performed simultaneously (a popular example of this is the fugue), was an important part of many Baroque choral and instrumental works.
The term «baroque» comes from the Portuguese word barroco, meaning «misshapen pearl». Negative connotations of the term first occurred in 1734, in a criticism of an opera by Jean-Philippe Rameau, and later (1750) in a description by Charles de Brosses of the ornate and heavily ornamented architecture of the Pamphili Palace in Rome; and from Jean Jacques Rousseau in 1768 in the Encyclopédie in his criticism of music that was overly complex and unnatural. Although the term continued to be applied to architecture and art criticism through the 19th century, it was not until the 20th century that the term «baroque» was adopted from Heinrich Wölfflins art-history vocabulary to designate a historical period in music.

#Baroque
#BaroqueMusic
#BaroqueHistory