Pièces de clavecin 11th ordre, Les Fastes de la grande, Seconde Acte - Solo Harpsichord

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Recitativo: Erstarre doch verfinsterte Natur Joseph, Maria 6. Corale: Das ewge Licht geht da herein 8. Aria a 2: Wer kann dieses recht erwegen? Die Menschenkinder 9. Part II. Recitativo: O allerliebstes Kind Das Nachdenken Recitativo: Ist dis der Ort? Die Hirten und Hirtinnen, Maria, Joseph Aria a 3: Es klopft noch unsre volle Brust Ein Hirten Recitativo: Ja, was noch mehr Ein Hirte Corale: In dulci jubilo Corale: O Jesu parvule Corale: Ubi sunt gaudia Recitativo: O frohe Nacht Die Hirten Aria: Komme dann erwehlte Seele Maria Johann Mattheson.

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Johann Mattheson was not only a prolific writer of books about music, he was also active as a composer of mainly vocal music. He wrote a number of operas and oratorios, the latter in his capacity as cantor of Hamburg Cathedral. Because of the special status of the cathedral - it was not under the supervision of the city council - Mattheson had freedom to perform the music he wanted. They had the technical skills to sing the vocal parts in his oratorios which were sometimes quite demanding.

Not a single verse from the gospels is quoted here. The unknown librettist uses a free poetic text, which is extended by stanzas from two well-known hymns: In dulci jubilo and Gelobet seist du, Jesu Christ. There are some biblical characters, like Joseph and Mary and shepherds, as well as allegorical figures: the Bride of Christ, Devotion, Meditation and the Children of Man - but no Evangelist.

The story is set in Bethlehem, with - in part one - Joseph and Mary singing God's praise in the stable. The second part concentrates on the shepherds telling them that the angel has announced the birth of Jesus. Among the technically demanding parts in this work is the aria 'Was schad't mir der Tod' How can death harm me for soprano the Bride of Christ , transverse flute and basso continuo.

She sings it very well, though, and Annie Laflamme delivers an exquisite performance of the flute part. She does quite well, but I am really surprised by her singing in this recording. I have heard her many times on disc, and was always struck by the clarity and purity of her voice. In one of her recordings she sings with Emma Kirkby, and their voices blend superbly. Here her singing is marred by a big wobble, in particular on unstressed notes, which seems to me a technical deficiency. It is to be hoped that this is temporary, because it isn't pleasing to listen to.

And as she has an important role in this oratorio it undermines the overall quality of the listening experience. Wolf Matthias Friedrich in his role as Joseph sings his aria 'Heller Glanz von 's Vaters Licht' Radiant glow of the Father's light beautifully, but he is disappointing in the recitatives which are artificial and rhythmically too strict — as with all the recitatives in this recording.

Thilo Dahlmann is new to me, and I am pleased by his performance of the aria of Meditation, 'O allerliebstes Kind' O child dearest of all. Delightful is the trio of Shepherdesses and a Shepherd, 'Es klopft noch unsre volle Brust' Our hearts even now do throb , in which the throbbing is imitated in staccato figures in the orchestra as well as in the vocal parts. This trio is just one example of the imaginative and evocative way Mattheson sets the text to music.

Same name, different tune

His treatment of the chorales is also interesting. There are no simple harmonisations here. The two stanzas from Gelobet seist du, Jesu Christ which end the first part and open the second - musically the second is a repetition of the first - are dramatised, so to speak, in that fragments of the hymn are repeated or dramatic pauses are included. In the second part three stanzas from In dulci jubilo are used, and after every line the two horns repeat the last notes of the choir, as an echo.

In this performance the 'choir' consists of the soloists with some additional singers to a total of eight voices. It is involved in several 'arias with choir'. This mostly means that at some moment the choir intervenes and repeats one line from the aria. Lastly it should be said that several arias seem to reflect that Mattheson considered an oratorio as an opera with a sacred subject.

Some are quite operatic, especially in the use of long and virtuosic coloratura passages. The opening chorus also has that element. I wasn't that impressed by its quality. In my opinion this 'Christmas Oratorio' is much better, even if one has to readjust, being acquainted with Bach's completely different Christmas Oratorio. It is well worth it despite the performance having some serious shortcomings. Johan van Veen. Concerto No. I, RV. I - Allegro 2. II - Grave 3. I - Allegro 5. II - Largo 6. I - Allegro 8.

II - Adagio 9. I - Allegro II - Adagio II - Largo Vivaldi — 6 Violin Concerti, Op.

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Intrada [ Chaconne of the Lilliputians [ Gigue of the Brobdingngians [ Daydreams of the Laputians and their attendant flappers [ Georg Philipp Telemann. Telemann — Twelve Fantasias; Gulliver Suite. Premier Acte. Second Acte. Premier Air de Vielle. Les Vielleux, et les Gueux. Second Air de Vielle 4. La Suzanne. La Malesherbe. Le Coucou. Jean Henri D'Anglebert. Claude-Benigne Balbastre. Louis-Claude Daquin.

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Michal Kleofas Oginski. Padre Antonio Soler. Jean Baptiste-De-Amoure. Luigi Boccherini. Prelude III Vallet Cesses mortels de soupirer Guedron Un jour l'amoureuse Silvie Guedron Praelidium Mertel Quel espoir de guarir Guedron Doncques par force Guedron Premiere entree de luth Ballard Soupirs mesles d'amour Recit Guedron Je voudrois bien chanter A la Reyne Guedron Cinquiesme entree de luth Ballard C'en est fait je ne verray plus A la Reyne Guedron Lors que Leandre amoureux Guedron Prelude AFrancisque Quel exces de douleur Recit Guedron Aux plaisirs, aux delices bergeres Guedron Praelidium 97 Mertel En fin le juste Ciel Guedron Ce penser qui sans fin Guedron Praelidium 93 Mertel Quand premier je la veis Recit Guedron Quoy faut-il donc qu'Amour Guedron Si jamais mon ame blesee Guedron Praelidium 3 Mertel Sinfonia No.

Erschallet, Trompeten! Instumentarium: L. With guest artist Roy Whelden - vielle. Ensemble Alcatraz. En avril au tens pascour. Flos pudicitie. DS Espris d'ire et d'amour. Ensemble Alcatraz — Danse Royale. Andante 2. Presto 3. Andante 4. Menuett - Trio 5. Presto Josef Myslivecek Sinfonia in Es a quatro voci 6.

Allegro 7. Larghetto 8. Presto Divertimento in F 9. Allegro Andante Allegro di molto Poco Adagio ma piu Andante Menuetto - Trio Bohmische Musik der 'Fruhklassik'.

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Josef Myslivecek - Sinfonie Es-Dur, 4st - 1. Josef Myslivecek - Sinfonie Es-Dur, 4st - 2. Josef Myslivecek - Sinfonie Es-Dur, 4st - 3. Josef Myslivecek - Divertimento F-Dur - 1. Josef Myslivecek - Divertimento F-Dur - 2. Filippo S. Alessandro Scarlatti. Alessandro Scarlatti — San Filippo Neri. Alessandro Scarlatti composed his oratorio on the life of Saint Philip Neri in The subject had died in , a time when music was undergoing a seismic upheaval with polyphony giving way to accompanied menody, and would produce the sacred equivalent of opera.

St Philip Neri promoted prayer meetings, or exercises in 'oratories' connected to churches. Music written and performed for such services in these surroundings became known as 'oratorios'. St Philip had several oratorios written about his life, and what was probably the first example of the form appeared in , composed by Giovanni Belli. Scarlatti's is the most impressive and important work on this subject. Cardinal Ottoboni had a remarkable skill of identifying the greatest musical talents of the time, and those who worked for him included Alessandro Scarlatti's brother Domenico, Corelli, Pasquini and Handel.

This is an important work in the development of the oratorio, and one that the young Handel may have heard during his years in Italy in the early s. Booklet Notes. Sung Text. Scene 1 2. Sorry but your review could not be submitted, please verify the form and try again. Make a wish list for gifts, suggest standard repertoire, let students know which books to buy, boast about pieces you've mastered: Music Lists are as unique as the musician!

Easily share your music lists with friends, students, and the world. The music in this publication is excellent. Couperin is by far the best composer of French - Baroque harpsichord music. The notation is easy to read. The clefs have been changed to modern notation. The thing that bugs me about this volume, as well as most Dover publications, is the "permanent You will never get this book to lay flat on your music stand.

The binding in the worst. Cheep as can be. This is the ultimate collection of Couperin's harpsichord music - the Dover reprint of Brahms' original edition. There is one problem with this edition: the paper is so thin and cheap that this paperback is unstable on the music rack, and pages turn back by themselves. Also, the way Dover Well, probably so that you'd buy it again This site uses cookies to analyze your use of our products, to assist with promotional and marketing efforts, to analyze our traffic and to provide content from third parties.

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F. Couperin: Les Fastes de la Grande et Ancienne Ménestrandise - Suite in C major / O. Baumont

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