Sept 2014 – Alto CD

Henry Purcell: Anthems for the Chapel Royal

amuletts — Wed, 31 Jan 2024 23:41:50 +0000

“The choir of Trinity College, Cambridge under Richard Marlow add substantially to their reputation in this recording. They begin with the Benedicite , strong in rhythm as in full-bodied tone, and end with the great eight-part Hear my prayer, skilful in shaping, secure in intonation, sensitive in balance.” (Gramophone) “Marlow gets god results from his singers; such expressive anthems as Remember Not.. and Hear My Prayer.. are eloquently done and beautifully recorded.” (Penguin Guide 3 stars)

[1] O all ye works of the Lord (Benedicite) 8:36
[2] Thou knowest, Lord, the secrets of our hearts 2:13
[3] Blow up the trumpet in Zion 6:18
[4] Save me, O God, for Thy Name’s sake 3:38
[5] Remember not, Lord, our offences 2:51
[6] O God, Thou hast cast us out 4:02
[7] O Lord God of hosts 4:31
[8] Funeral sentences (Man that is born of a woman / In the midst
of life / Thou knowest, Lord, the secrets of our hearts) 9:53
[9] I was glad (Anthem for the Coronation of James II, 1685) 4:07
[10] Lord, how long wilt Thou be angry? 3:49
[11] O God, Thou art my God 3:53
[12] O be joyful in the Lord (Jubilate) 2:53
[13] I will sing unto the Lord 2:55
[14] Hear my prayer, O Lord 2:58

Tomás Luis de Victoria (1548-1611) EASTER WEEK Lamentations & Responsories

amuletts — Wed, 31 Jan 2024 23:41:50 +0000

“This offer is less stereotyped. Here just the nine Second Nocturn responsories are sung, each group prefaced by Victoria ‘s complementary polyphonic ‘Lamentation’. Whereas the responsories are short and sharp, there’s an elegant breadth and languor in his music for the Lamentations, and the alternating two styles makes an effective contrast. In the responsories, the Trinity choir succeeds in conveying the texts without straying into the dangerous territory of high drama …their superb discipline compensates for the fact that these are first and foremost liturgical works with roots deeply embedded in the performing traditions of the Roman Catholic Church.” (Gramophone)

MAUNDY THURSDAY – FERIA V IN COENA DOMINI AD MATUTINUM (Tenebrae)

[1] Lectio I: Incipit Lamentatio leremiae 6:41
[2] Lectio II: Vau. Et egressus
4:57
[3] Lectio III: Iod Manum suam 6:00

RESPONSORIES OF THE SECOND NOCTURN

[4] Responsorium IV: Amicus meus 2:46
[5] Responsorium V: ludas Mercator 2:09
[6] Responsorium VI: Unus ex discipulis 2:35

GOOD FRIDAY – FERIA VI IN PARASCEVE AD MATUTINUM (Tenebrae)

LESSONS OF THE FIRST NOCTURN

[7] Lectio I: Heth. Cogitavit Dominus 3:44
[8] Lectio II: Lamed. Matribus suis 5:27
[9] Lectio III: Aleph. Ego vir videns 5:16

RESPONSORIES OF THE SECOND NOCTURN

[10] Responsorium IV: Tamquam ad latronem 3:17
[11] Responsorium V: Tenebrae factae sunt 4:33
[12] Responsorium VI: Animam meam dilectam 3:55

HOLY SATURDAY SABBATO SANCTO AD MATUTINUM (Tenebrae)

LESSONS OF THE FIRST NOCTURN

[13] Lectio I: Heth, Misericordiae Domini 4:56
[14] Lectio II: Aleph. Quomodo obscuratum 5:11
[15] Lectio III: Incipit Oratio Ieremiae 7:32

RESPONSORIES OF THE SECOND NOCTURN

[16] Responsorium IV: Recessit pastor 3:12
[17] Responsorium V: O vos omnes 3:17
[18] Responsorium VI: Ecce quomodo moritur 3:36

Ravel: Piano Music: Gaspard de la Nuit; Sonatine Le Tombeau de Couperin; Jeux d’eau; Pavane pur une Infante Défunte

amuletts — Wed, 31 Jan 2024 23:41:50 +0000

“Stott has established herself as a sensitive interpreter of French music with recitals of Fauré and Debussy, and now here she is in Ravel – and in two works at least (Gaspard and Le tombeau de Couperin) which are technically especially challenging.
… I’m glad to be able to praise a fluid but unhurried Jeux d’eau that is well served, too, by the velvety-rich recorded sound … it ‘s attractive. So are the Sonatine, and the tenderly solemn Pavane pour une infante défunte ” (Gramophone)

Le Tombeau de Couperin

[1] Prélude 3:00
[2] Fugue 3:27
[3] Forlane 5:52
[4] Rigaudon 2:51
[5] Menuet 5:05
[6] Toccata 3:57
[7] Jeux d’eau 6:09

Sonatine

[8] Modéré 5:03
[9] Mouvement de Menuet 3:07
[10] Animé 3:46
[11] Pavane pour une infante défunte 6:54

Gaspard de la nuit

[12] Ondine 6:54
[13] Le gibet 6:26
[14] Scarbo 9:16

Jewels of Russian Ballet

amuletts — Wed, 31 Jan 2024 23:41:50 +0000

“Consistently, one registers the idiomatic feeling as well as of the finesse … If anyone thought that to get these players … would result in a routine account, that is the opposite of what has happened … they have responded with both refinement and red-blooded commitment … sound is exceptionally full and open” (Gramophone) “There’s plenty here that people will recognize instantly as favourites, even though they’d no idea what the titles were.” (interview Mark Ermler 1989)

[1] Stravinsky: The Firebird: Danse Infernale 4:16
[2] Glazunov: Raymonda: Galop 2:25
[3] Prokofiev: Cinderella: Finale 2:40
[4] Khachaturian: Spartacus: Variation of Aegina; Bacchanal 3:16

Minkus: Don Quixote:

[5] Basile’s Variation 0:49 [6] Variation II 1:07 [7] Finale 2:06
[8] Tchaikovsky: The Nutcracker:Waltz of the Flowers 6:47
[9] Minkus: Don Quixote : Variations 40 & 41 4:59

Drigo: Le Corsaire

[10] Adagio 3:24 [11] Variation I 0:55
[12] Variation 11 1:49 [13] Galop 1:32

Prokofiev: Romeo and Juliet:

[14] Dance of the Knights 6:04 [15] Romeo and Tybalt Fight 3:46
[16] Tchaikovsky: Swan Lake: Valse, Act I, No.2 7:59

Glazunov: the Seasons:

[17] Bacchanal 1:00 [18] Waltz of the Cornflowers and Poppies 1:40
[19] Khachaturian: Spartacus: Adagio of Spartacus and Phrygia 9:44
[20] Khachaturian: Gayaneh: Sabre Dance 2:27
[21] Tchaikovsky: The Sleeping Beauty: Valse, Act I, No 7 5:08
[22] Stravinsky: The Firebird: Finale 2:57

Mantovani’s Mediterranean Melodies

amuletts — Wed, 31 Jan 2024 23:41:50 +0000

“In the new age of Hi-Fi stereo, no sound dominated the airwaves and turntables as much as the cascading strings and romantic arrangements of Mantovani, which were uniquely suited to Italian & Mediterranean hit tunes” (MusicalMerit)

[1] Catari, Catari (Core n’grato) (Cardillo, Caidiferro) 4:34
[2] Capriccio Italien Theme (trad.) 3:33
[3] Italia Mia (Mantovani) 2:44
[4] Vissi d’arte (Puccini) 3:16
[5] Mattinata (Leoncavallo) 3:05
[6] Carnival of Venice (trad.) 3:56
[7] Bersaglieri March 2:45
[8] Come Back to Sorrento (De Curtis) 3:12
[9] Return to Me 3:02
[10] Nessun Dorma (Puccini) 3:00
[11] Italian Fantasia (Medley) 6:14

O Sole Mio; A Frangesa; Santa Lucia; Maria, Mari !; Funiculi, funicula

BONUS TRACKS from ‘Continetal Encores’ ‘Opera Melodies’ etc

[12] Cara Nome (Verdi) 4:03
[13] More than Ever (Come prima) (Panzeri; Taccani; Di Paola) 2:42
[14] Brindisi (Verdi) 2:56
[15] La Vie en Rose (Monnot & Louiguy) 3:01
[16] Cielito Lindo (Santos) 2:00
[17] O Mio Babbino (Puccini) 2:30
[18] Siboney (Lecuona) 3:29
[19] Intermezzo from Cavalleria Rusticana (Mascagni) 3:21
[20] La Paloma (Yradier; arr.Mantovani) 2:54
[21] Poppa Piccolino (Mascheroni) 2:22
[22] La Mer (Trenet) 3:41
[23] April in Portugal (Ferrao) 1:43
[24] Arrivederci Roma (Rascel) 3:09

Bach: 48 Preludes & Fugues (Das Wohltempierte Klavier) BWV 846-93

amuletts — Wed, 31 Jan 2024 23:41:50 +0000

“There are some remarkable moments on these discs …remarkable as piano playing … Usually his tone is exquisitely cultivated, and Preludes such as the F minor, G minor and B flat minor are beautifully phrased; excellent, too, are quick, lithe ones like like the D major and D minor or the B flat major. Richter’s virtuosity is impressive in other Preludes such as the C minor and A minor. Of course, some Bach is very romantic and the Preludes in C sharp and E flat minor are very fine … I admire, also, the limpid sound of the C major and B minor Preludes; first and last in the first book, and Richter quickly responds to genre pieces like the D major Fugue, which is an ouverture a la francaise.” (Gramophone)

The Well-Tempered Clavier – Book I (BWV 846–869)
DISC ONE [59:00]

1 & 2 Prelude and Fugue No. 1 in C major BWV 846 1:58 & 2:30
3 & 4 Prelude and Fugue No. 2 in C minor BWV 847 1:18 & 1:39
5 & 6 Prelude and Fugue No. 3 in C sharp major BWV 848 1:14 & 2:03
7 & 8 Prelude and Fugue No. 4 in C sharp minor BWV 849 3:13 & 6:20
9 & 10 Prelude and Fugue No. 5 in D major BWV 850 1:08 & 1:51
11 & 12 Prelude and Fugue No. 6 in D minor BWV 851 1:26 & 2:31
13 & 14 Prelude and Fugue No. 7 in E flat major BWV 852 3:40 & 1:27
15 & 16 Prelude and Fugue No. 8 in E flat minor BWV 853 4:24 & 6:25
17 & 18 Prelude and Fugue No. 9 in E major BWV 854 1:04 & 1:05
19 & 20 Prelude and Fugue No. 10 in E minor BWV 855 1:53 & 1:06
21 & 22 Prelude and Fugue No. 11 in F major BWV 856 0:55 & 1:16
23 & 24 Prelude and Fugue No. 12 in F minor BWV 857 2:08 & 5:19

DISC TWO [63:44]

1 & 2 Prelude and Fugue No. 13 in F sharp major BWV 858 1:24 & 2:15
3 & 4 Prelude and Fugue No. 14 in F sharp minor BWV 859 0:51 & 4:18
5 & 6 Prelude and Fugue No. 15 in G major BWV 860 0:48 & 2:22
7 & 8 Prelude and Fugue No. 16 in G minor BWV 861 1:57 & 2:51
9 & 10 Prelude and Fugue No. 17 in A flat major BWV 862 1:10 & 2:55
11 & 12 Prelude and Fugue No. 18 in G sharp minor BWV 863 1:24 & 3:25
13 & 14 Prelude and Fugue No. 19 in A major BWV 864 1:11 & 2:37
15 & 16 Prelude and Fugue No. 20 in A minor BWV 865 0:55 & 4:08
17 & 18 Prelude and Fugue No. 21 in B flat major BWV 866 1:05 & 1:28
19 & 20 Prelude and Fugue No. 22 in B flat minor BWV 867 2:26 & 4:19
21 & 22 Prelude and Fugue No. 23 in B major BWV 868 0:51 & 2:33
23 & 24 Prelude and Fugue No. 24 in B minor BWV 869 7:51 & 7:33

DISC THREE [72:35]

1 & 2 Prelude and Fugue No. 1 in C major BWV 870 2:31 & 1:30
3 & 4 Prelude and Fugue No. 2 in C minor BWV 871 1:49 & 2:37
5 & 6 Prelude and Fugue No. 3 in C sharp major BWV 872 1:30 & 1:46
7 & 8 Prelude and Fugue No. 4 in C sharp minor BWV 873 3:46 & 1:56
9 & 10 Prelude and Fugue No. 5 in D major BWV 874 4:54 & 3:27
11 & 12 Prelude and Fugue No. 6 in D minor BWV 875 1:22 & 1:37
13 & 14 Prelude and Fugue No. 7 in E flat major BWV 876 2:19 & 2:17
15 & 16 Prelude and Fugue No. 8 in D sharp minor BWV 877 3:17 & 4:25
17 & 18 Prelude and Fugue No. 9 in E major BWV 878 4:12 & 4:28
19 & 20 Prelude and Fugue No. 10 in E minor BWV 879 3:01 & 2:40
21 & 22 Prelude and Fugue No. 11 in F major BWV 880 3:02 & 1:35
23 & 24 Prelude and Fugue No. 12 in F minor BWV 881 4:11 & 1:52
25 & 26 Prelude and Fugue No. 13 in F sharp major BWV 882 2:45 & 2:31

DISC FOUR [76:26]

1 & 2 Prelude and Fugue No. 14 in F sharp minor BWV 883 3:24 & 6:05
3 & 4 Prelude and Fugue No. 15 in G major BWV 884 2:12 & 1:09
5 & 6 Prelude and Fugue No. 16 in G minor BWV 885 2:51 & 3:28
7 & 8 Prelude and Fugue No. 17 in A flat major BWV 886 3:05 & 3:33
9 & 10 Prelude and Fugue No. 18 in G sharp minor BWV 887 3:43 & 6:43
11 & 12 Prelude and Fugue No. 19 in A major BWV 888 1:32 & 1:06
13 & 14 Prelude and Fugue No. 20 in A minor BWV 889 4:27 & 1:29
15 & 16 Prelude and Fugue No. 21 in B flat major BWV 890 5:48 & 3:49
17 & 18 Prelude and Fugue No. 22 in B flat minor BWV 891 2:52 & 7:39
19 & 20 Prelude and Fugue No. 23 in B major BWV 892 1:29 & 5:06
21 & 22 Prelude and Fugue No. 24 in B minor BWV 893 2:18 & 1:39

William Boyce: Eight Symphonies, Op. 2 Leopold Mozart: ‘Toy Symphony’ & Trumpet Concerto

amuletts — Wed, 31 Jan 2024 23:41:49 +0000

“these fresh, inspirating, virile pieces, arguably the finest musical products of Georgian England… the music is finely done, the dances with a proper swing, the French overtures with rhythms that sound sharp but not unnaturally prickly …

Symphony No. 1 in B flat
‘NEW YEAR ODE’

[1] Allegro 2:01
[2] Moderato e dolce 2:12
[3] Allegro 1:27

Symphony No. 2 in A
‘BIRTHDAY ODE’

[4] Allegro assai 2:19
[5] Vivace 1:02
[6] Presto Allegro 1:29

Symphony No. 3 in C
‘THE CHAPLET’

[7] Allegro 2:28
[8] Vivace 1:19
[9] Tempo di Minuetto 1:27

Symphony No. 4 in F
‘SHEPHERDS LOTTERY’

[10] Allegro 2:21
[11] Vivace ma non troppo 1:21
[12] Gavotte: Allegro 2:10

Symphony No. 5 in D
‘ST.CECILIA’S DAY ODE’

[13] Allegro ma non troppo 3:56
[14] Tempo di Gavotta 1:36
[15] Tempo di Minuetto 2:09

Symphony No. 6 in F ‘SOLOMON’

[16] Largo 1:28
[17] Allegro 2:35
[18] Largetto 1:24

Symphony No. 7 in B flat
‘PYTHIAN ODE’

[19] Andante 3:57
[20] Moderato 1:12
[21] Jigg: Allegro assai 1:56

Symphony No. 8 in D minor
‘WORCESTER OVERTURE’

[22] Pomposo 3:13
[23] Allegro 2:18
[24] Largo Andante 2:16
[25] Tempo di Gavotta 3:32

Leopold Mozart (1719-87)
Trumpet Concerto in D major*
(Mainz Chamber Orchestra)
(Trumpet: Walter Holy)

[26] Adagio 4:57
[27] Allegro moderato 3:23

Cassation in G for Orchestra & Toys
‘Toy Symphony’

[28] Allegro 4:10
[29] Menuetto – Trio – Menuetto 3:55
[30] Finale 1:27

MARTINů: Double Concerto

amuletts — Wed, 31 Jan 2024 23:41:49 +0000

“Golani’s unaffected account of the Rhapsody-Concerto, all the more eloquent for being understated .. the lovely Sinfonietta, a wartime work but apparently carefree gets a delightfully fresh performance … the powerful Double Concerto, again well played and recorded” (3* Penguin Guide)

Double Concerto for 2 String Orchestras Piano & Timpani

[1] Poco Allegro 6:30
[2] Largo 8:24
[3] Allegro 7:00

Jiří Skovajsa (piano), Brno State Philharmonic Orchestra
conducted by Sir Charles Mackerras

Sinfonietta Giocosa for Piano and Small Orchestra

[4] Poco allegro 8:15
[5] Allegretto poco moderato 5:49
[6] Allegro 7:25
[7] Andantino (moderato) – Allegro 7:21

Dennis Hennig (piano), Australian Chamber Orchestra
conducted by Sir Charles Mackerras

Rhapsody-Concerto for Viola and Orchestra

[8] Moderato 10:16
[9] Molto Adagio – Poco vivo –
Poco Allegro – Allegro – Andante (molto tranquillo) 11:54

Rivka Golani (viola), Bem Symphony Orchestra
conducted by Peter Maag

Albéniz: Iberia Suite for Piano

amuletts — Wed, 31 Jan 2024 23:41:29 +0000

“(her) reading of Albeniz’s Iberia is one of the great pianistic interpretations of our time … Most of the dozen pieces are very difficult to play, yet … solved so completely that we scarcely are aware. Miss de Larrocha’s performances are beautifully refined, with a seemingly inexhaustible range of apt colour. Everywhere is a feeling of amplitude, an unfailing sense of movement, of rhythms that are completely accurate but sound casually natural.” (Gramophone)

Premier Cuaderno

[1] I. Evocacíon 5:30
[2] II. El Puerto 4:06
[3] III. Corpus Christi en Sevilla (Fête-Dieu à Seville)
F sharp minor- F sharp major 8:01

Segundo cuaderno

[4] I. Rondeña D major 7:04
[5] II. Almería G major 8:55
[6] III. Triana F Sharp minor 5:12

Tercer cuaderno

[7] 1. El Abaicín B flat minor – B flat major 6:41
[8] II. El Polo F minor 6:39
[9] III. Lavapiés D flat major 6:14

Cuarto cuaderno

[10] I. Málaga B flat minor- B flat major 4:27
[11] II. Jérez A minor – E major 8:35
[12] III. Eritaña E flat major 5:21

Dvořák & Schumann Cello Concertos

amuletts — Wed, 31 Jan 2024 23:41:29 +0000

(Dvořák) “No praise can be too high for Rostropovich’s performance; not only for its actual playing, technically, but for the poetry, the true inwardness of his expressiveness … I may perhaps be allowed now to say that no performance I have ever heard has given me deeper enjoyment.” (Schumann) “nothing detached or remote about Rostropovich’s playing: indeed his is a reading that is totally committed. He plays with his usual authority and wealth of tone and with great expressive intensity.” (both: Gramophone)

Dvořák: Cello Concerto in B minor, Op.104 (38:33)

- [1] I. Allegro 14:32
- [2] II. Adagio ma non troppo 11:38
- [3] III. Finale. Allegro moderato 12:22

Schumann: Cello Concerto in A minor, Op.129 (25:20)

[4] Nicht zu schnell 12:09
[5] Langsam 4:59
[6] Sehr Lebhaft 8:11