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1. Overn Elan 0:00
2. Vorskan Ahper 4:00
3. Hey Djan, Hey Djan 7:59
4. Ashkharums Akh Chim Kashi 12:01
5. Machkal es 18:15
6. Pokrik Bourastan 22:59
7. Dun An Glkhen 27:54
8. Dle Yaman 34:23
Vachagan Avakyan (duduk)
Recorded: 1982

Дживан ГАСПАРЯН. Армянские народные мелодии.
Вачаган Авакян (дудук).
Запись: 1982 г.

Оверн Елан (Повеяло Прохладой) 0:00
Ворскан Ахпер (Братец-охотник) 4:00
Эй, Джан, Эй, Джан (Эй, Дорогая) 7:59
Ашхарумс Ах Чим Каши (В Этом Мире Я Вздоха Не Издам) 12:01
Мачкал Ес (Пахарь) 18:15
Покрик Бурастан (Мой Маленький Цветник) 22:59
Дун Эн Глхен (Твой Силен Ум) 27:54
Дле Яман 34:23

Джива́н Арамаи́сович Гаспаря́н (12 октября 1928, деревня Солак, Армения) — всемирно известный армянский музыкант и композитор, знаток армянской национальной музыки, мастер игры на дудуке. Народный артист Республики Армения.

Армянский дудук – поистине уникальный духовой инструмент. Несмотря на свою древность, он не устаревает, и его звучание неизменно продолжает приносить людям радость и чувство очарования. Неудивительно, что известность дудука распростерлась далеко за пределы Армении – его поклонников сегодня можно найти во многих, порой самых неожиданных точках мира. В 2005 г. музыка дудука была признана шедевром культурного наследия ЮНЕСКО.
Армяне по праву гордятся своим уникальным музыкальным инструментом и считают его национальным достоянием. Армянский фольклор создал целую легенду, посвященную циранапоху («абрикосовой трубе»). Вот эта красивая история:

«Молодой Ветер всею душой полюбил дивное горное деревце. Но ревнивый Старый Вихрь, прознав про это, вознамерился стереть с лица земли не только деревце, но и все, что росло и радовало глаз вокруг.
Молодой Ветер был огорчен, услышав о намерении Вихря, и попросил его не делать этого. Поразмыслив над просьбой, Старый Вихрь нехотя дал согласие не причинять никому вреда, но с необычным условием: Молодой Ветер больше никогда не должен летать. Если же полетит – то любимое им деревце погибнет.
Молодой Ветер очень долго держал данное обещание, вплоть до наступления осени. Вот уж и последние листочки осыпались с деревца. Только тогда Молодой Ветер всего-то на миг забылся и взлетел.Но как только это случилось, деревце тотчас пропало. На месте, где оно росло, осталась лишь маленькая веточка…
Проходивший мимо крестьянин подобрал ветку и смастерил из нее дудочку, которая на радость ему и всем людям в округе ожила и запела свою удивительную песню о верности и любви». Так на свет появился дудук!

Приятного Вам прослушивания!

Sireci yars taran | Armenian folk song

Organs Ghazaryan (Duduk)
Marina Omelchenko (Organ)

Recorded at Moscow Catholic Cathedral of the Immaculate Conception, 2016.

Provided to YouTube by National Digital Aggregator LLC

Хорошо темперированный клавир, том 1: Прелюдия и фуга No. 10 ми минор, BWV 855 · Святослав Рихтер

Святослав Рихтер 100, Том 31 (Live)

℗ 2020 АО «Фирма Мелодия»

Released on: 2015-01-01

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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

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

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Freue dich, erloste Schar, BWV 30: Part I: Recitative: Wir haben Rast (Bass) · Joanne Lunn

Bach, J.S.: Cantatas, Vol. 1 — Bwv 7, 20, 30, 39, 75, 167

℗ 2000 SDG

Released on: 2000-01-01

Artist: Joanne Lunn
Artist: Wilke te Brummelstroete
Artist: Paul Agnew
Artist: Dietrich Henschel
Choir: Monteverdi Choir
Conductor: John Eliot Gardiner
Ensemble: English Baroque Soloists
Composer: Johann Sebastian Bach

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J. S. Bach
Cantatas BWV 21, 135; Concerto BWV 1044
J. E. Gardiner (Vol2 CD2)
Live recordings from the Bach Cantata Pilgrimage:
Fraumünster, Zürich, Switzerland.
Disc: 2
Track Listings
  1. Sinfonia
  2. Ich Hatte Viel Bekummernis in Meinem Herzen
  3. Sopran Seufzer, Tranen, Kummer, Not
  4. Wie Hast Du Dich, Mein Gott
  5. Bache Von Gesalznen Zahren
  6. Was Betrübst Du Dich, Meine Seele
  7. Ach Jesu, Meine Ruh
  8. Komm, Mein Jesu, Und Erquicke
  9. Sei Nun Wieder Zufrieden
  10. Erfreue Dich, Seele, Erfreue Dich, Herze
  11. Das Lamm, Das Erwurget Ist
  12. Ach Herr, Mich Armen Sunder
  13. Ach Heile Mich, Du Arzt Der Seelen
  14. Troste Mir, Jesu, Mein Gemute
  15. Alt Ich Bin Von Seufzen Mude
  16. Bass Weicht, All Ihr Ubeltater
  17. Ehr Sei Ins Himmels Throne
  18. Allegro
  19. Adagio Ma Non Tanto E Dolce
  20. Alla Breve

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
Subscribe for more content: goo.gl/ZWoSxm

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)

From the Royal Concertgebouw in Amsterdam, Netherlands
Recorded on January 27, 2018

Giulio Prandi — conductor
Ghislieri Choir