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Restored from the original Melodiya recordings.
Dmitri Shostakovich wrote his Symphony No. 2 in B major, Op. 14 and subtitled “To October,” for the 10th anniversary of the October Revolution. It was first performed by the Leningrad Philharmonic Orchestra and the Academy Capella Choir under Nikolai Malko, on 5 November 1927. After the premiere, Shostakovich made some revisions to the score, and this final version was first played in Moscow later in 1927 under the baton of Konstantin Saradzhev. It was also the first time any version of the work had been played in Moscow.
This performance, recorded by Melodiya on Jan 5, 1927 is conducted by Konstantin Saradzhev and is performed by the Leningrad Philharmonic Orchestra.
The Symphony No. 3 in E flat major by Dmitri Shostakovich was first performed by the Leningrad Philharmonic Orchestra and Academy Capella Choir under Aleksandr Gauk on January 21, 1930.
Similar to the Second Symphony, it is an experimental choral symphony in four continuous sections.
The symphony lasts around 25 to 30 minutes. The finale sets a text praising May Day and the revolution.
However, exact interpretation of the symphony is difficult as penned in a letter to Boleslav Yavorsky, Shostakovich said that the work "expresses the spirit of peaceful reconstruction"; on the other hand, most of the material preceding the finale is dark and sometimes sardonic in tone.
This performance was recorded by Melodiya on January 22, 1930 and is performed by the Leningrad Philharmonic Orchestra and is conducted by Aleksandr Gauk.
Michael Kurek’s PARMA Recordings debut, THE SEA KNOWS, is a charming collection of works written with an emphasis on that which is beautiful and emotive. Composing in a tonal idiom reminiscent of the great melodists of the early 20th century, Kurek creates music that tugs at the heartstrings without ever pandering, that is rich in emotive content without feeling sugary. The works on THE SEA KNOWS plumb the depths of musical sensitivity and will appeal to anyone who listens to music seeking intimacy and an emotionally-grounded experience.
Follow Piffaro from Spain to the New World in the 17th century and hear a wild array of secular songs, sacred motets, dances and instrumental fantasias are all performed on Piffaro's amazing collection of period instruments. This album is an all-instrumental homage to the music of Spain that was brought from the Old World, interspersed with music that was developed in the New World and influenced by the rich native cultures that the Spaniards encountered. It was inspired by Piffaro's own trip to South America in May of 2010, where they performed at Bolivia's International Festival of Renaissance and Baroque Music.
Tañe Gil du tamborino — Gaspar Fernandes (c. 1570-before 1629)
Folias gallegas — Santiago de Murcia (1673 – 1739), arr. Grant Herreid
Differencias sobre el canto llano de cavallero — Antonio de Cabezón (c. 1510 – 1566),
Differencias sobre la gallarda Milanesa — Cabezón
La dame le demande — Cabezón, arr. Christa Patton
Recercada quarta “La gamba” — Diego Ortiz (c. 1510 – c. 1570)
Chacona: “Una sarao de la chacona” — Juan Arañes (died c. 1649)
Niña, con tus libres modos — Fr. B Murillo (?, early 17th c.)
Sale la blanca aurora — Juan Blas de Castro (c. 1560 – 1631)
Ay, ay, ay, tres veces — Anonymous, Spain (c. 1650)
Elegit eum Dominus — Fernandes
Ego enim accepi — Francisco Lopez Capillas, Mexico (c. 1615 – 1673)
Sobre vuestro canto llano — Fernandes
Villano — Anonymous, arr. Piffaro (early 17th c.)
Turulu neglo — Anonymous, Cuzo Seminary, Peru (16th c.)
Dios itlaçonantzine — Don Francisco ?
Oy, descubre la grandesa — Fernandes
Ah, de Abajo! — FernandesYyaî Jesuchristo — Anonymous, Bolivia (17th c.)
Monstra te essem matrem — Hernando Franco (1532 – 1585)
Gloria from Missa “Si bona suscepimus” — Cristóbal de Morales (c. 1500 – 1553)
Zarambeques — Lucas Ruiz de Ribayaz (1626 – ?)
Christianos — Anonymous, Bolivia (17th c.)
Dulce Jesús mío — Anonymous, Bolivia (17th c.)
Senhora del mundo — Anonymous, Portuguese (late 16th c.), arr. Piffaro
Pabanes — Ribayaz
Canarios — Anonymous (early 17th c.)
Seguidillas manchegas — Murcia, arr. Herreid
Versos al organo con duo para chirimias — Manuel Blasco, Ecuador (c. 1684)
Deus in adiutorium meum intende — Juan Gutiérez de Padilla (c. 1590 – 1664)
The six string quartets, K. 168–173, were composed by Wolfgang Amadeus Mozart in late 1773 in Vienna. These are popularly known as the Viennese Quartets. Mozart may have hoped to have them published at the time, but they were only published posthumously by Johann André in 1801 as Mozart's Op. 94.
These quartets represent a considerable advance on the Milanese Quartets from less than a year before. Each contains four movements, including minuets and trios. Mozart had been exposed to recently published quartets by Joseph Haydn (Opp. 9, 17 and 20) and was incorporating many of their elements.
String Quartets Nos. 8 - 13 as performed by the CMD String Quartet of Vienna
BACK BEFORE BACH, the latest Navona Records release from the Philadelphia-based ‘Renaissance band’ Piffaro, is an exceptional compendium of sixteenth and early seventeenth century German and Franco-Flemish music. As the album’s title suggests, the group of composers Piffaro features can be seen as the precedent for the luminaries of the German baroque era, specifically Johann Sebastian Bach. With BACK BEFORE BACH simultaneously drawing from a wide variety of genres, yet also focusing on a geographically and temporally limited group of composers, Piffaro succeeds wildly in presenting the musical foundation from which Bach and his contemporaries emerged.
Mozart’s “Mass in C Major, K. 167” or the “Mass in Honor of the Most Holy Trinity” was commissioned by Archbishop Colloredo in June of 1773 for Trinity Sunday.
The Mass was performed in Salzburg’s Trinity Church in the same month of commission.
This Mass is noteworthy in that this is Mozart’s only wholly choral mass, which excludes all solo vocalists. This may have been done by the request of Archbishop Colloredo in order to obtain brevity to coincide with Colloredo’s new directives for shorter church ceremonies.
The Mass consists of 6 movements: Kyrie, Gloria, Credo, Sanctus and Benedictus and is scored for 1st and 2nd violins, 2 oboes, 2 piccolo trumpets, 2 standard trumpets, timpani and a continuo.
This performance by the CMD Chorus and Philharmonic of Paris is conducted by Dominique Beaulieu
The Empire Strikes Back
Return of the Jedi
The Book Thief
Harry Potter and the Sorcerer's Stone
Harry Potter and the Prisoner of Azkaban
Simone Pedroni, piano
Another landmark recording under the baton of Kenneth Hedgecock, the greatest and yet, the almost completely unknown conductor of Gustav Mahler.
Hear Symphony No. 5 in its truest form with absolutely NO apologies for having too much brass in the symphony. You may have heard Mahler's 5th Symphony before, but never like this!
Véronique Mathieu’s ARGOT is a spectacular demonstration of her abilities as a violinist, as well as the dramatic range of her instrument. The recording embodies the definition of its title – ‘argot’, which means the language of a particular group – in two meaningful ways. First, Mathieu has selected a unique array of violin-centric works that illuminate the creative strengths of twentieth century modernist composers. Second, as a result of the album’s daring program and Mathieu’s incredible talents, listeners enjoy the opportunity to hear every nuance of the violin’s expressive vocabulary executed at the highest possible level.
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