- Simca Heled, violoncello The Israel Sinfonietta, Mendi Rodan, conductor
* Alfred Deller sings Couperin: "Première leçon" [1714] - PART I
Part 1 of 2: The beginning of the "First Lesson" from Couperin's magnificent "Leçons de ténèbres" with countertenor Alfred Deller. Desmond Dupré, viola da gamba, and Harry Gabb, organ.
* 'sinfonia' from 'gli equivoci nel sembiante', 1679
Violins: Jonathan Guyonnet, Paolo Cantamessa Viola: Yuki Koike Viola da gamba and lirone: Elizabeth Rumsey Double bass: Ludovic Coutineau Theorbo: Craig Marchitelli Tromba Marina: Giuseppe Placentino Harpsichord and direction: Stefano Molardi
I Virtuosi delle Muse
Angers Nantes Opéra January 14th 2010
* GLI EQUIVOCI NEL SEMBIANTE Dramma per musica di Alessandro Scarlatti Libretto di Domenico Filippo Contini (Roma 1679)
Direttore: Carlo Ipata Regia: Dagny Müller Scene: Nicolas Bovey Costumi: Kerry Bell Luci: Riccardo Tonelli Interpreti: Armindo: Alberto Allegrezza Clori: Giuseppina Bridelli Eurillo: Matteo Mezzaro Lisetta: Manuela Ranno Orchestra: Auser Musici Coproduzione Opera Barga - Auser Musici
Registrazione live Barga, Teatro dei Differenti 14-15 Luglio 2012-10-11
* Salve Regina, op. 2 Nr. 10
- Vokalensemble ex tempore
Florian Heyerick, conductor
* Il Primo Omicidio overo Cain Oratorio
[6 voci, soloists, strings & continuo, 1707]
- René Jacobs Akademie für Alte Musik Berlin
- Personaggi: Caino: Bernarda Fink, alto Abel: Graciela Oddone, soprano Eva: Dorothea Röschmann, soprano Adamo: Richard Croft, tenor Voce di Dio: René Jacobs, countertenor Voce di Lucifero: Antonio Abete, bass
- Performer: Violins I: Bernhard Frock (solo), Midori Seiler (solo), Edburg Forck, Dörte Wetzel, Sebastian Griewisch Violins II: Georg Kallweit, Kerstin Erben, Julita Tabisz, Barbara Paulsen Altos: Anja-Regine Graewel, Ulrich Kiefer, Clemens Nußbaumer Violoncelles: Jan Freiheit, Ulrike Becker Contrbasse: Harald Winkler Basson: Christian Beuse Clavecin: Raphael Alpermann Clavecin & Orgue: Attilio Cremonsei Luth: Konard Junghänel
- Konzertmeister: Bernhard Forck Dirigent: René Jacobs Akademie für Alte Musik Berlin
- The Martyrdom of St Stephen by Agostino Carracci (1603-1604)
* A. Scarlatti's harpsichord variations on "La Folia" Performed by Robert Woolley, 1989
The Symphony No. 83 in F major, Hoboken 1/79, is a symphony by Joseph Haydn. It was composed in 1784 as part of a trio of symphonies that also included symphonies 80 and 81.
The symphony is scored for flute, two oboes, two bassoons, two horns and strings. There are four movements: Allegro con spirito Adagio cantabile, 3/4 - un poco allegro, 2/2 Menuetto & Trio: Allegretto, 3/4 Finale: Vivace
The second half of the slow second movement is not slow at all and has a tempo more typical of a finale.
Much of the minuet is built on "4 + 2" six-bar phrases where the final two bars serve as a partial echo of the first four. The trio is based on a theme that is strikingly similar to the rondo finale to Mozart's first horn concerto, K. 412/386b, written in 1791.
The finale is a straightforward rondo with two episodes. The first episode has a gypsy flavor.
Opera preziosa pubblicata da Argesarge e rieditatata da Vignoni Alto
- Jordi Savall + Jan Vermeer
* 3 Parts upon a Ground
* The Prophetess (The History of Dioclesian) Orchestral Suites semi-opera, Z.627 - Jordi Savall, Le Concert des Nations, La Capella Reial de Catalunya
01. First Musick 02. Second Musick 03. Symphony for Trumpets & Violins 04. Retornella 05. Dance of the Furies: Soft music - Dance Prophetess 06. The Chair Dance 07. Retornella
* The Fairy Queen Suite , Savall
* Chamber Music - MUSICA AMPHION Rémy Baudet, violin
* Zefiro Torna , oh di soavi accenti
- N. Rial, P.Jaroussky
L'arpeggiata Ensemble
L' ORFEO
- Jordi Savall
21:00-32:00
L'Orfeo
-music director: René Jacobs
orfeo: Simon Keenlyside
choreography: Trisha Brown
Taccata, Ritornelo and Prologue [l'Orfeo]
Ohimé, se tanto amate
* lamento della ninfa
Phoebus had not yet brought daylight to the world when a damsel came out of her dwelling. Her suffering was plain on her face, and frequently she let great sighs loose from her heart. Thus trampling the flowers, she wandered here and there, and her lost love she thus wept: "Love," she said, stopping to look at the heavens, "where, where is the faith that the traitor swore to me? Let my love return as he was, or else kill me, so that I may no longer torment myself." Poor wretch, alas, nol longer can she suffer such scorn. "I don't want him to sigh except away from me, I no longer want him to confide his sufferings in me. Because I suffer for him, he is proud; will he beseech me if I flee from him? She may have a more serene brow than mine, but even Love's breast does not harbor such beautiful constancy. Never will he have such sweet kisses from that mouth, nor softer - be still, be still, that he knows all too well. Thus among scornful weeping she scattered her laments to the sky; thus in lovers' hearts Love mixes flame and ice.
* Lamento della Ninfa
from "Madrigali guerrieri ed amorosi, 1638"
(Ottavo Libro de' Madrigali)
Text: Ottavio Rinuccini
Part I: Non havea Febo ancora (TTB)
Part II: Amor, dicea (STTB)
Part III: Si, tra sdegnosi pianti (TTB)
La Capella Reial de Catalunya,
Jordi Savall
Auvidis, 1995
Recorded in the Protestant church (temple) of Ribeauvillé, France, in 1994
Lamento della ninfa is the 18th piece
from Monteverdi's eighth book of madrigals (Madrigali guerrieri ed amorosi, 1638).
The three male voices narrate the story and offer empathy to the nymph
while she is lamenting over her abandonment.
This movement of the madrigal is a beautiful example for Phrygian progression
with the ostinato of its bass line in four descending notes all the way through.
The inner turmoil and sorrow of the nymph is mirrored in the music
by the melodic and harmonic dissonances.
Non havea Febo ancora
recato al mondo il dì
ch'una donzella fuora
del proprio albergo uscì.
Sul pallidetto volto
scorgease il suo dolor,
spesso gli venia sciolto
un gran sospir dal cor.
Sì calpestando fiori,
errava hor qua, hor là,
i suoi perduti amori
così piangendo va:
"Amor," dicea, il ciel
mirando il piè fermò
"dove, dov'è la fé
che 'l traditor giurò?
Fa che ritorni il mio
amor com'ei pur fu,
o tu m'ancidi, ch'io
non mi tormenti più."
Miserella, ah più no,
tanto gel soffrir non può.
"Non vo' più che i sospiri
se non lontan da me,
no, no, che i suoi martiri
più non dirammi, affé!
Perché di lui mi struggo
tutt'orgoglioso sta,
che sì, che sì se 'l fuggo
ancor mi pregherà?
Se ciglio ha più sereno
colei che 'l mio non è,
già non rinchiude in seno
Amor si bella fé.
Né mai si dolci baci
da quella bocca havrai,
né più soavi; ah, taci,
taci, che troppo il sai."
Sì tra sdegnosi pianti
spargea le voci al ciel;
così ne' cori amanti
mesce Amor fiamma e gel.
Phoebus had not yet
brought daylight to the world
when a damsel
came out of her dwelling.
Her suffering was plain
on her face,
and frequently she let
great sighs loose from her heart.
Thus trampling the flowers,
she wandered here and there,
and her lost love
she thus wept:
"Love," she said, stopping
to look at the heavens,
"where, where is the faith
that the traitor swore to me?
Let my love return
as he was,
or else kill me, so that I
may no longer torment myself."
Poor wretch, alas, nol longer
can she suffer such scorn.
"I don't want him to sigh
except away from me,
I no longer want him
to confide his sufferings in me.
Because I suffer for him,
he is proud;
will he beseech me
if I flee from him?
She may have a more serene
brow than mine,
but even Love's breast
does not harbor such beautiful constancy.
Never will he have such sweet kisses
from that mouth,
nor softer - be still,
be still, that he knows all too well.
Thus among scornful weeping
she scattered her laments to the sky;
thus in lovers' hearts
Love mixes flame and ice.
* Duo Seraphim
- from Vespro della Beata Vergine
[transcription for two cellos and bass]
Sonia Wieder-Atherton and Natalia Shakhovskaia, cellos
