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Shostakovich: Symphonies 2 and 3
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.
Piffaro - Los Ministriles in the New World
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)
Mozart - The 6 Viennese String Quartets
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
Piffaro - Back Before Bach
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: Mass in C Major, K. 167
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
Mahler: Symphony No. 5
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!
Mahler: Symphonies 3 and 4
Mahler’s 3rd and 4th Symphonies together comprise his longest symphony. Separately the 3rd remains his longest symphony and the 4th his shortest symphony. The 3rd symphony is also the longest symphony in the orchestral repertoire which is also the 10th most popular symphony according to the BBC Music Magazine.
The 3rd symphony consists of 6 movements and describes, to Mahler, what each part of nature tells him of God.
Part 1 of the symphony, which consists of the 1st movement, is described as Pan Awakening, Summer Marching In and What the Mountains Tell Me of God.
Part 2, which consists of movements 2 through 6, are described as:
However, in an effort to re-create Mahler’s original intent, Classical Music Discoveries has put the symphonies together as one complete symphony and has divided the symphony into its original 3 parts, or acts, so to speak.
This performance is by the CMD German Opera Company of Berlin and conducted by Kenneth Hedgecock.
Mahler: Symphony No. 2 "Resurrection"
The greatest event for all mankind is yet to happen. That event will be the resurrection of the dead.
Every human being, that has ever lived, will have their eternal spirit united with an eternal and perfected body, never to be parted again.
The righteous will be resurrected first with the unrighteous being resurrected lastly after the millennium.
The 2nd symphony, or the Resurrection Symphony, of Gustav Mahler envisions man’s death, remembrance of his life and questioning if there is life after death, and culminates with the glorious event of the resurrection of all mankind.
Our performance, by the CMD German Opera Company of Berlin, conducted by Kenneth Hedgecock is fully orchestrated as follows:
4 flutes and 4 piccolos
4 oboes and 2 English horns
3 clarinets and a bass clarinet
3 E-flat clarinets
4 bassoons and contra-bassoon
10 french horns
5 snare drums
2 bass drums
2 pairs of cymbals
3 untuned bells
Mixed chorus of 255 voices
Captivating Pops with Kurt Bestor
This 2-CD set include the entire Kurt Bestor concert (music and narratives by Kurt Bestor).
Wagner: Die Meistersinger von Nürnberg
Die Meistersinger von Nürnberg is a music drama in three acts, written and composed by Richard Wagner. It is among the longest operas commonly performed, usually taking around four and a half hours. It was first performed at the Bavarian State Opera, in Munich, on June 21, 1868. The conductor at the premiere was Hans von Bülow.
The story is set in Nuremberg in the mid-16th century. At the time, Nuremberg was a free imperial city and one of the centers of the Renaissance in Northern Europe. The story revolves around the city's guild of Master Singers, an association of amateur poets and musicians who were primarily master craftsmen of various trades. The master singers had developed a craftsman like approach to music-making, with an intricate system of rules for composing and performing songs. The work draws much of its atmosphere from its depiction of the Nuremberg of the era and the traditions of the master-singer guild. One of the main characters, the cobbler-poet Hans Sachs, is based on a historical figure, Hans Sachs, the most famous of the master singers.
Die Meistersinger von Nürnberg occupies a unique place in Wagner's oeuvre. It is the only comedy among his mature operas, and is also unusual among his works in being set in a historically well-defined time and place rather than in a mythical or legendary setting. It is the only mature Wagner opera based on an entirely original story, devised by Wagner himself, and in which no supernatural or magical powers or events are in evidence. It incorporates all of the operatic conventions that Wagner had railed against in his essays on the theory of opera: rhymed verse, arias, choruses, a quintet, and even a ballet.
This performance by the CMD German Opera Company of Berlin and conducted by Dominique Beaulieu.
McCormick Percussion Group
Robert McCormick, conductor
1 THE ALABADOS SONG PAUL BISSELL
Alex Delgado, solo marimba
CONCERTINO FOR TWO MARIMBAS AND SIX PERCUSSIONISTS
JAN VAN LANDEGHEM
Emory Blake and Grant Beiner, solo marimbas
2 COMODO CON AMORE
CONCERTINO FOR MARIMBA AND FOUR PERCUSSIONISTS
CHIHCHUN CHI-SUN LEE
Ryan Wilson, solo marimba
4 MOVEMENT I
5 MOVEMENT II
6 MOVEMENT III
7 CONCERTO FOR MARIMBA AND PERCUSSION ENSEMBLE
Beran Harp, solo marimba
8 CONCERTINO FOR MARIMBA AND PERCUSSION ENSEMBLE
Emory Blake, solo marimba
9 THE CREATION CAYENNA ROSA PONCHIONE
Matt Dickson and Lee Hinkle, solo marimba
Cayenna Rosa Ponchione, guest conductor
J.S. Bach: Easter Oratorio, BWV 249
Johann Sebastian Bach’s “Easter Oratorio, BWV 249 was composed in Leipzig and first performed on April 1, 1725.