December 31, 2009

Andor Foldes WIZARD OF THE KEYBOARD

Andor Foldes was born in Budapest on Dec. 21, 1913, and began his studies privately with his mother, Valerie Ipolye, and with Tibor Szatmari. He made his public debut performing a Mozart concerto with the Budapest Philharmonic when he was 8 years old. The next year he entered the Budapest Academy of Music to study the piano, composition and conducting, but he continued to perform publicly.
During his student years, Mr. Foldes worked with several important Hungarian composers, among them Ernst von Dohnanyi, with whom he studied until 1932, and Bartok, whom he met in 1929. Bartok's music became a central part of his repertory. He gave the New York premiere of Bartok's Second Piano Concerto at Carnegie Hall in 1947. His 1948 recording of the work, prized by collectors, was recently reissued on compact disk, as was a set of Bartok works he recorded for Deutsche Grammophon, which won the Grand Prix du Disques and other prizes. A New York Premiere.
Mr. Foldes made his American orchestral debut in a radio concert in 1940 and his recital debut at Town Hall in 1941. He met his wife, a Hungarian journalist, in New York, and they became American citizens. In the 1950's, when Mr. Foldes's European concert engagements were more plentiful than his American ones, he and his wife moved to Europe, settling in Switzerland in 1961.
Besides a large discography, which includes not only the Bartok recordings but also works by Mozart, Beethoven, Brahms, Falla, Debussy, Poulenc, Liszt, Schubert and Rachmaninoff, Mr. Foldes was the author of "Keys to the Keyboard" (1948).
Among his awards are the Grand Cross of Merit, given by Germany in 1959 for his help in raising money to have the Beethoven Halle in Bonn rebuilt, and the Silver Medal of the City of Paris, given in 1969. (Allan Kozinn, The New York Times)


CD 1:
Johann Sebastian Bach (1685 - 1750)
Chromatic Fantasia and Fugue in D minor, BWV 903

1) Fantasia [6:44]
2) Fuga [4:35]
Ludwig van Beethoven (1770 - 1827)
Piano Sonata No.6 in F, Op.10 No.2

3) 1. Allegro [4:18]
4) 2. Allegretto [3:46]
5) 3. Presto [2:36]
Johannes Brahms (1833 - 1897)
16 Waltzes, Op.39

6) 1. in B [0:48]
7) 2. in E [1:09]
8) 3. in G sharp minor [0:46]
9) 15. in A flat [1:34]
Manuel de Falla (1876 - 1946)
El amor brujo
10) Ritual Fire Dance [3:31]
Francis Poulenc (1899 - 1963)
Nocturnes Nos.1-8
11) No.4 in C minor [1:26]
Claude Debussy (1862 - 1918)
Préludes - Book 1

12) 8. La fille aux cheveux de lin [2:41]
Frédéric Chopin (1810 - 1849)
4 Mazurkas, op.41

13) 2. Mazurka in E minor: Andantino [2:05]
14) Nocturne No.13 in C minor, Op.48 No.1 [5:52]
Franz Liszt (1811 - 1886)
15) Mephisto Waltz No.1, S.514 [10:38]
Béla Bartók (1881 - 1945)
Suite, BB 70, Sz. 62 (Op.14)
16) 1. Allegretto [1:55]
17) 2. Scherzo [1:43]
18) 3. Allegro molto [2:05]
19) 4. Sostenuto [2:53]
Sonata for Piano, Sz. 80 (BB 88)
20) 1. Allegro moderato [4:06]
21) 2. Sostenuto e pesante [5:00]
22) 3. Allegro molto [3:29]
23) Allegro barbaro, BB 63, Sz. 49 [2:29]

CD 2:
Igor Stravinsky (1882 - 1971)
Piano Sonata (1924)
1) 1. Viertel = 112 [3:07]
2) 2. Adagietto [5:05]
3) 3. Viertel = 112 [2:42]
Samuel Barber (1910 - 1981)
Excursions, Op.20
4) 1. Un poco allegro [2:43]
5) 2. In slow blues tempo [3:32]
6) 3. Allegretto [2:28]
7) 4. Allegro molto [2:10]
Aaron Copland (1900 - 1990)
Piano Sonata (1941)

8) 1. Molto moderato [8:21]
9) 2. Vivace [4:38]
10) 3. Andante sostenuto [9:28]
Zoltán Kodály (1882 - 1967)
11) Marosszéki táncok (Dances of Marosszèk) [12:30]
7 Piano Pieces, Op.11
12) 1. Lento [1:40]
13) 2. Székely keserves. Rubato, parlando [2:20]
14) 3. "il pleut dans mon coeur...". Allegretto malinconico [1:30]
15) 5. Tranquillo [2:04]
16) 6. Székely nóta. Poco rubato [3:08]
Igor Stravinsky (1882 - 1971)
17) Circus Polka for a Young Elephant [3:55]
Virgil Thomson (1896 - 1989)
18) Ragtime Bass in C sharp [1:41]
Isaac Albéniz (1860 - 1909)
19) Tango, Op.165, No.2 [2:46]

Andor Foldes

2007 Deutsche Grammophon GmbH, hamburg
2 Compact Discs
477 6511 0 GOM 2

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December 29, 2009

Natalie Dessay / Emmanuelle Haïm HANDEL Delirio

Soprano Natalie Dessay and harpsichordist-conductor Emmanuelle Haim unite on this lovely program featuring two Handel solo cantatas, plus a substantial aria from Aci, Galatea, e Polifemo (the Italian version, not the English masque composed ten years later). While the two French musicians previously joined forces on a magnificent 2004 recording of Monteverdi's L'Orfeo and the delightful Handel: Arcadian Duets -- both of which feature Dessay only occasionally -- with this newer recording the soprano makes a strong claim as an early-music singer of real distinction. Her voice -- high, light, and clear, yet full of warmth -- has already made her a renowned interpreter of Mozart and bel canto music, and she has even explored Strauss and Massenet on recent discs of opera excerpts. Yet she seems especially well suited to Handel, offering musically rewarding and vocally dazzling performances of these delightful works. Haim and her top-notch band, Le Concert d'Astrée, support Dessay's singing with equally graceful performances that may be short on dramatic punch but lack nothing in sparkle. The opening cantata, Il delirio amoroso (Love's Delirium), with a text by Handel's patron Cardinal Bendetto Pamphili, is essentially an extended lament from Clori over the death of Tirsi, and it includes prominent solos for oboe, violin, cello, and recorder, in addition to the voice. Likewise, the aria from Aci -- the longest and arguably finest track on the disc -- emphasizes the high-flying vocal solo with brilliant instrumental writing, underscoring the imagery of soaring, twittering birds, which only serve to remind the narrator of his loneliness. Similar to the opening cantata but more concise, Mi palpita il cor (My Heart Pounds), the final selection, also deals with the anguish of love lost, and again, a solo oboe duets with Dessay in tuneful counterpoint. An enchanting disc. (EJ Johnson)

Il Delirio Amoroso

1) Introduzione
2) Recitative: Da Quel Giorno Fatale
3) Aria (Allegro): Un Pensiero Voli In Ciel
4) Recitative: Ma Fermati Pensier
5) Aria: Per Te Lasciai La Luce
6) Recitative: Non Ti Bastava Ingrato
7) Aria: Lascia Omai Le Brune Vele
8) Recitative: Ma Siamo Giunti In Lete
9) Entrée
10) Minuet: Inquesto A Mene Piaggie Serene
11) Recitative: Si Disse Clori
12) Minuet
Aci, Galatea E Polifemo
13) Aria: Qui L'augel Da Pianta In Pianta Lieto Vola (Aci)
Mi palpita Il Cor
14) Adagio: Mi Palpita Il Cor
15) Allegro: Agitata É L'alma Mia
16) Recitativo: Tormento E Gelosia
17) Aria (Largo): Ho Tanti Affanni In Petto
18) Recitativo: Clori Dite Mi Lagno
19) Aria (Allegro): S'un Di M'adora La Mia Crudele

2005 EMI Records Ltd/Virgin Classics
1 CD DDD
0946 332624 2 3

Natalie Dessay, soprano
Le Concert D'Astrée
Emmanuelle Haïm, direction

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December 27, 2009

René Pape GODS, KINGS & DEMONS

Gods, Kings & Demons sums up René Pape's favored operatic characters in a succinct, juicy title. Pape has earned plaudits for his performances of German, Italian, French, and Russian roles: King Marke, Don Carlo, Méphistophélès, and Boris Godunov among them. He fairly owns these parts nowadays, and this album -- the German bass's long overdue CD recital debut on the Deutsche Grammophon label -- presents key moments for each of them. Verdi's "Ella giammai m'amo" from Don Carlo, as noble and moving on disc as it is in the theater, is a clear album highlight, while the monologue from Act II of Wagner's Tristan and the pair of arias from Gounod's Faust convey a similar strength and beauty of tone. Among these familiar numbers, Pape intersperses some rarities, including selections from operas by Boito and Dvorak, as well as Rubinstein's obscure The Demon. Perhaps this neglected work will receive a fuller hearing some day with Pape as its champion. Meanwhile, one track points to a more certain future: one of Wotan's monologues from Das Rheingold. Pape has saved this imposing role, the chief god of Wagner's Ring Cycle, for later in his career, promising to tackle it onstage soon. The mouthwatering snippet offered here heralds great things still to come from this magnificent singer. (EJ Johnson)

Charles Gounod (1818 - 1893)
Faust

1) Ronde du veau d'or: "Le veau d'or" [1:58]
2) Sérénade: "Vous qui faites l'endormie" [2:42]
Arrigo Boïto (1842 - 1918)
Mefistofele
3) Ecco il mondo [2:19]
Hector Berlioz (1803 - 1869)
La Damnation de Faust, Op.24

4) Air de Méphistophélès. "Voici des roses" [2:47]
Giuseppe Verdi (1813 - 1901)
Don Carlo

5) "Ella giammai m'amò!" [10:30]
Jacques Offenbach (1819 - 1880)
Les Contes d'Hoffmann

6) Scintille, diamant [2:40]
Richard Wagner (1813 - 1883)
Das Rheingold

7) Abendlich strahlt der Sonne Auge [3:55]
Tristan und Isolde
8) "Tatest du's wirklich?" [13:31]
Anton Rubinstein (1829 - 1894)
The Demon
9) "Na vazdushnam akeane" [4:58]
10) "Ne plach dit'a" [2:39]
Antonín Dvorák (1841 - 1904)
Rusalka, Op.114
11) Beda, Beda! Ubohá rusalko bleda [5:29]
Modest Petrovich Mussorgsky (1839 - 1881)
Boris Godounov
12) Oi! duschno, duschno [10:34]


René Pape
Staatskapelle Dresden
Sebastian Weigle

2008 Deutsche Grammophon GmbH, Hamburg
1 CD DDD
477 6408 3 GH

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December 25, 2009

A BAROQUE CHRISTMAS

1. A minuit fut fait un réveil / Anonymous (France), 17th century
This beautiful carol, utilised by Marc-Antoine Charpentier in the Agnus Dei of his Messe de Minuit, paraphrases the entire Christmas story within the space of a few strophes. Our song originates in the seventeenth century, but this technique of story-telling, based on short, simple musical phrases repeated many times, is probably as old as language itself.
2. Noëls pour les instruments/ Marc-Antoine Charpentier (1634-1704)
As his career drew to an end, Charpentier, hoping to avoid posthumous oblivion, had hand-copied an extensive, multi-volume anthology of his own compositions; these precious manuscripts are preserved today at the Paris Bibliothèque Nationale. The same volume that gives us the Messe de Minuit also preserves a series of French christmas carols arranged for instrumental ensemble. The tunes we perform here are presented in the same order of their appearance in the Mass.
3. Hodie christus natus est/ Gregorian
A Gregorian antiphon for Christmas day
4. Nun jauchzet mit hellem Ton / Johannes Schein (1586-1630)
A number of German composers, Schein among them, created German-language imitations of the light Italian vocal forms -- villanelle, balletti, etc. -- that were the rage across Europe circa 1600. This compositon appeared with two texts -- one celebrating the amorous delights of nymphs and shepherds, the other in praise of the Christmas feast.
5. Laudate dominum/ Claudio Monteverdi (1547-1643)
Monteverdi's exuberant treatment of this psalm text, composed during his Venetian period, owes a great deal to his experience with the concerted madrigal, much in favor during the early years of the seventeenth century. The alternation of fast-moving solo passages with sonorous tuttis pays hommage to the Venetian love of contrast and varied sound colors.
6. Non recedet laus tuus/ Gregorian
A Marial text for one of the Virgin's feast days.
7. Salve Regina/ Claudio Monteverdi
Favored by many, many composers from the Middle Ages onward, this text receives on of its most evocative settings ever in the present treatment by Monteverdi. The graphically-depicted sighs of the imploring sinner bear a delicious resemblance to the those of some pining lover in the same composer's secular style; yet despite its proximity to the flesh-and-blood world of the madrigal, this motet's spirituality is intense and deeply felt.
8. The Blessed virgin's expostulation/ Henry Purcell (1659-1695)
Purcell's astonishing setting -- really a mini-cantata -- of a text by Nahum Tate confronts us with the real anguish of a real mother. Like the Monteverdi Salve Regina, like many a canvas of Carravagio or Rembrandt, the power of the work resides in the tension between carnality and spirituality, between the universe of everyday experience and the supernatural.
9. Messe de minuit sur des airs de Noël/ Marc-Antoine Charpentier
Christmas, the most joyous of holidays, comes at the darkest time of year. And the theme of light growing out of night, overcoming the shadows, is crucially important to how this holiday has been thought about and celebrated throughout history. Charpentier's beloved "Messe de Minuit" is less dramatic, less theatrical than the works of Monteverdi and Purcell you have just heard -- yet it, too, is quintessentially baroque (that is, dependent on contrast for its effect) by virtue of its placement at the night hour. The composer, whose dramatic power and gift for gesture are evident in many other compositions from his pen, here eschews all subjectivity, all psychologizing, creating a mass cycle meant to evoke primal, unclouded faith. The borrowed carol tunes, well-known to his listeners (and some of them still current in the French-speaking world today) are delightfully treated in the French seventeenth century manière, by turns jaunty and tender. They speak of the French countryside, of simple belief, and of childlike trust. Only in the Credo, at the text Judicare vivos et mortuos, do we get a brief glimpse of Christ the Judge -- everywhere else in this gentle, tender work, He is a newborn infant. At the hour of midnight, we behold a pure, sweet, redemptive light. We supply the names of the borrowed carol tunes alongside the individual mass movement. (notes by Joel Cohen Mirabeau, August 1991)

THE BOSTON CAMERATA
Anne Azéma, soprano
Elizabeth Weigle, soprano
Richard Duguay, tenor
Dan McCabe, baritone
Arizeder Urreiztieta, bass
Robert Mealy (concertmaster), baroque violin
Katherine Sutherland, baroque violin
Harold Lieberman, baroque viola
Carol Lewis, viola da gamba
Jesse Lepkoff, flute, recorder
Kathie Roth, flute
Owen Watkins, recorder
Michael Dolbow, violone
Olav Chris Henriksen, theorbo, baroque guitar
Frances Conover Fitch, organ

assisted by THE SCHOLA CANTORUM OF BOSTON
Frederick Jodry, director

Alice Dampman, Sandra Stuart, sopranos
Rob Dobson, Frederick Jodry, altos
John Delorey, Arthur Rawding, tenors
John Holyoke, bariton
Gregory Mancusi-Ungaro, bass

Joel Cohen, Director

1992 Elektra Nonesuch
1 CD DDD
9 79265-2

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December 24, 2009

Gesa Lücker MOZART & PROKOFIEV Sonatas and Other Works

The German pianist Gesa Lücker made her concerto debut aged 12. She has been a prize-winner in national and international competitions and has performed in major halls such as the NDR Radio Hall, Hannover, the Yamaha Hall and Weill Recital Hall at Carnegie Hall in New York and the Wigmore Hall in London.Gesa gained the concert diploma from the University of Music and Drama Hannover under the guidance of Martin Dörrie and Matti Raekallio, and she received further inspiration and ideas from musicians such as Arie Vardi, Fabio Bidini and Jerome Rose. In addition to her concert life, she holds a lectureship teaching piano at the University for Music and Drama Hannover and she has frequently been a jury member in national and international competitions.

A brilliant feat is presented by award-winning pianist Gesa Lücker on her debut disc with GENUIN classics. From the high-spirited beginning of Mozart’s G major sonata from 1775 all the way to the wild chase in the final movement of Prokofiev's 1944 Sonata No. 8, listeners are treated to a recital wholly of a piece which fully deserves to be heard in one sitting. It is not only the intensity and beauty of tone which Lücker calls forth from every phrase, it is also her compelling sense of dramaturgy in having the smaller Mozart piece form a bridge between the two larger works. Her playing on this CD appeals to the heart and the mind, to the emotions and intellect of listeners. The excitement of a live performance shines through!

Wolfgang Amadeus Mozart
Sonata No. 5 in G major, KV 283

1) Allegro
2) Andante
3) Presto
4) Adagio in B minor, KV 540
5) Rondo in D major, KV 485
6) Gigue in G major, KV 574
Sergei Prokofiev (1891-1953)
Sonata No. 8 in flat major, op. 84
7) Andante dolce
8) Andante sognando
9) Vivace


2009 GENUIN
1 CD DDD
GEN 89153


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December 22, 2009

Diana Damrau COLORaturaS Opera Arias

The multi-faceted German coloratura soprano, who has been described as “the Meryl Streep of classical music” shows her vocal and dramatic range with this collection of arias from the 19th and 20th centuries. The repertoire ranges from Rossini and Verdi to Stravinsky and Bernstein, from comedy to tragedy and covers four languages: German, Italian, French and English. It includes Zerbinetta’s marathon coloratura aria from Ariadne auf Naxos, one of the operas which spearheaded Damrau’s international career.
“Damrau has … strong opinions on the use of coloratura for dramatic effect,” wrote Opera News in an interview with the soprano. “Unlike some singers of previous generations, who were encouraged to cut back on the vocal garni by conductors who found the flourishes suspect, Damrau employs embellishments to emphasize the impact of language ….What's more, her Italian diction is superb, something that cannot always be said for Central and Eastern European artists. ‘Oh, I'm so glad to hear that,’ she says, ‘because I have a facility for languages, and I work very hard to communicate well.’ Whether Rosina [in Il barbiere di Siviglia] is expressing delight over Almaviva's furtive caress or anger over his imagined betrayal, Damrau deploys her clarity of speech to vivid effect; she points out that in ‘Una voce poco fa’,’ [featured on this recital] the word vipera is key — the girl knows full well she can be a viper. Later on, the bite she puts into the word traditore, for example, cuts to the quick.”
When Damrau performed Rosina at the Met, The New York Times wrote that: “the lovely German coloratura Diana Damrau was absolutely dazzling here. Interpolating extra-high roulades into the music, she brought her bright, clear and very sizable voice to the role, singing with impeccable accuracy and delightful impishness. This Rosina was no innocent. You immediately believed her when she explained in the touchstone aria ‘Una voce poca fa’ that though for the most part she is a docile and obedient thing, when crossed in love she becomes a viper.”
Donizetti also appears in this recital, with an aria from Linda di Chamounix. Damrau took on the challenge of following Natalie Dessay as Lucia di Lammermoor at the Met. “Ms. Damrau dispatched the passage-work, trills and top notes with aplomb,” wrote the New York Times. “Her sound was warm, plush and clear ... That Ms. Damrau executed the Mad Scene’s spiraling vocal roulades so accurately and held sustained tones with such penetrating steadiness lent a quality of eerie control to Lucia’s madness. And her gleaming top notes filled the house.” (Presto Classical)


1) Roméo et Juliette: Je Veux Vivre
2) Rigoletto: Gualtier Malde...Caro nome
3) Ariadne auf Naxos, Zerbinetta: Großmächtige Prinzessin...
4) Il Barbiere di Siviglia: Una Voce Poco fa
5) The Rakes Progress: Silently night...I go to him
6) Gianni Schicchi; O mio Babbino Caro
7) Un Ballo in Maschera: Volta la terrea
8) Un Ballo in Maschera: Saper Vorreste
9) Linda di Chamounix: O luce di quest amina
10) Hamlet: A vos jeux, mes amis...
11) Candide: Glitter and be Gay

Diana Damrau
Münchner Rundfunkorchester
Dan Ettinger

2009 Virgin Classics
1 CD DDD
510313 2 2

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December 20, 2009

Alison Balsom BACH Works for trumpet

The title Bach: Works for Trumpet is a little misleading: While Bach did compose glorious music for that instrument, everything here is a transcription. No matter. Bach himself was an avid transcriber, and these adaptations would surely draw smiles from the old Saxon -- not least because of the virtuosity of the soloist, Alison Balsom, who navigates music originally for keyboard, cello, violin, voice, and other sources with equal aplomb. Most daring, perhaps, are Balsom's unaccompanied selections: two movements from one of the cello suites, a Gigue from a violin partita, and the lively Badinerie from the Second Orchestral Suite. There's nothing to mask shortcomings in technique on these solitary tracks, yet Balsom never loses her stride in music that must pose an extra challenge on trumpet rather than on the nimbler flute, violin, or cello. Organist Colm Carey steps in to accompany three transcribed concertos (two of which are in turn Bach revisions of scores by Vivaldi and Marcello, adding to the complexity), while a small chamber group joins the trumpeter for a trio sonata and part of the Agnus Dei from the B Minor Mass. A harpsichord-accompanied Italian Variations and a version of the beautiful song "Du bist bei mir," with chamber organ and viola da gamba, complete the album's pleasingly diverse assortment of backup combinations. Balsom's playing is spirited and expressive, with a tone that swaps brassy glitz for a supple vocal quality. All in all, an impressive major-label debut that reveals a talent to keep an eye on. (EJ Johnson)

Concerto in D Major (after Vivaldi) BWV 972
1) Allegro
2) Adagio
3 )Allegro Assai
Suite No. 2 in D minor, BWV 1008
4) Sarabande
5) Gigue
6) Aria Variata in A Minor (Italian Variations) BWV 989
Partita No. 3 in E BWV1006
7) Gigue
Trio Sonata in C Major BWV 529
8) Allegro
9) Largo
10) Allegro
Concerto in C minor (after Marcello) BWV 974
11) Allegro
12) Largo
13) Presto
Klavierbüchlein für Anna Magdalena Bach, II
14) Aria, BWV508: Bist du bei mir
Concerto in A major BWV 1055 (transposed to C Major)
15) Allegro
16) Larghetto
17) Allegro ma non tanto
18) Badinerie from Suite No. 2, BWV 1067
Mass in B minor BWV232
19) Agnus Dei

Alison Balsom (Trumpet)
Mark Caudle (Viola da gamba)
Alina Ibragimova (Violin)
Alistair Ross (Chamber Organ, Harpsichord)
Colm Carey (Organ)

2005 EMI Classics
1 CD DDD
724355804754

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December 17, 2009

Andras Schiff J.S. BACH 6 Partitas BWV825 - BWV830

When it came time for Johann Sebastian Bach to publish his Opus 1, what work do you think he picked? One of the sacred cantatas? One of the "Brandenburg Concertos"? One of the cello suites? No, none of the above. In 1726, Bach chose his "B flat major Partita" to start his publishing career -- and once a year for the next five years, he published five more partitas, then collected them under the title "Clavier-Übung" in 1731.
When it came time for Hungarian pianist András Schiff to make his major-label debut, what work do you think he picked? Yes, that's right. In 1985, Schiff released his recording of the complete partitas -- and followed it with many more Bach recordings over the next few years until he'd released nearly the complete canonical works by 1996.
And yes, Schiff's partitas are wonderful. Schiff has an elegant technique that never draws attention to itself no matter how knotty the notes, a graceful tone that always concentrates on the lyricism no matter how thick the counterpoint, and the consummate taste to know exactly how to place an accent, turn an appoggiatura, bend a phrase, and inflect a rhythm to make the music wholly his own without making it any less Bach's. In short, if you want Bach's partitas played on the piano, Schiff is your man. Reissued in 2007, Decca's early digital sound somehow seems warmer and richer than it did in 1985. (James Leonard)
CD 1:
Johann Sebastian Bach (1685 - 1750)
Partita No.1 in B flat, BWV 825
1 1. Praeludium [2:04]
2 2. Allemande [2:56]
3 3. Corrente [2:53]
4 4. Sarabande [4:35]
5 5. Menuet I [1:20]
6 6. Menuet II [1:25]
7 7. Giga [2:14]
Partita No.2 in C minor, BWV 826
8 1. Sinfonia (Grave adagio - Andante) [4:39]
9 2. Allemande [4:21]
10 3. Courante [2:08]
11 4. Sarabande [3:00]
12 5. Rondeaux [1:41]
13 6. Capriccio [3:25]
Partita No.6 in E minor, BWV 830
14 1. Toccata [7:37]
15 2. Allemande [3:46]
16 Corrente - Air [6:28]
17 5. Sarabande [6:10]
18 6. Tempo di gavotta [2:13]
19 7. Gigue [5:59]

CD 2:
Partita No.3 in A minor, BWV 827
1 1. Fantasia [1:55]
2 2. Allemande [2:56]
3 3. Corrente [2:47]
4 Sarabande - Burlesca [5:27]
5 6. Scherzo [1:02]
6 7. Gigue [3:03]
Partita No.4 in D , BWV 828
7 1. Overture [6:05]
8 2. Allemande [8:03]
9 3. Courante [3:25]
10 4. Aria [2:17]
11 5. Sarabande [5:50]
12 6. Menuet [1:35]
13 7. Gigue [3:42]
Partita No.5 in G, BWV 829
14 1. Praeambulum [2:10]
15 2. Allemande [4:07]
16 3. Corrente [1:31]
17 4. Sarabande [4:04]
18 5. Tempo di minuetto [2:36]
19 6. Passepied [1:42]
20 7. Gigue [3:59]

András Schiff

2007 DECCA Record Co.
2 Compact Discs DDD
475 8234 2


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December 15, 2009

Natalie Dessay / Emmanuelle Haïm BACH Cantatas BWV 51, 82a & 199

Nothing quite says "Bach" like the image of a woman lying face-up on some pavement, wearing a strapless black dress. Or so Natalie Dessay would have us believe. She also dedicates her new album of Bach cantatas to Martin Luther King. Welcome to the woolly world of Natalie Dessay singing Bach, accompanied by the fearless period-instrument group Le Concert d'Astrée under Emmanuelle Haïm. It's a bit easier to imagine Dessay in Handel than in Bach, partly because she sings German with an accent that those with the sound of the language in their heads will find difficult to forget. But most of all because her extremely strong personality pulls at the boundaries of self-effacement demanded by Bach's flawless melodies and intricate musical constructions. It's to her credit that her performances of these three familiar cantatas for soprano and instrumental ensemble ("Ich habe genug" is performed in its soprano version, BWV 82a) are consistently listenable, and at times brilliant. The sterling example of the latter is the aria "Schlummert ein, ihr matten Augen" (track 7), which Dessay turns into a kind of gentle cradle song to herself. Elsewhere Dessay takes unorthodox, rather dramatic approaches to the texts, emphasizing unexpected words like "Hoffen" (hopes) in the opening aria of "Ich habe genug" (track 5). Her flashing silver voice is exciting up among the trumpets of the "Cantata No. 51," "Jauchzet Gott in allen Landen, BWV 51," but the performances don't quite have the well-oiled quality one conventionally expects from Bach. None of this is the fault of Haïm and her band, who have made innovative recordings combining Baroque instruments with the distinctive voices of modern opera singers, and in the main made them work. It's treacherous to assign a definitive judgment to a recording like this, but one can guess that it will be essential for Dessay fans, if perhaps not for collectors of Bach cantata performances. All texts are in German, French, and English. (James Manheim)

Cantata "Jauchzet Gott In Allen Landen" BWV 51
1) I Aria: Jauchzet Gott In Allen Landen
2) II Recitativo: Wir Beten Zu Dem Tempel An
3) III Aria: Höchster, Mache Deine Güte
4) IV Chorale: Sei Lob Und Preis Mit Ehren - V Finale: Alleluja!
Cantata No. 82, 'Ich Habe Genug' BWV82
5) Aria: Ich Habe Genug
6) Recit: Ich Habe Genug
7) Aria: Schlummert Ein
8) Recit: Mein Gott! Wann Kommt Das Schöne Nun!
9) Aria: Ich Freue Mich Auf Meinen Tod
Cantata "Mein Herze Schwimmt Im Blut" BWV 199
10) I Recitativo: Mein Herze Schwimmt Im Blut
11) II Aria & Recitativo: Stumme Seufzer, Stille Klagen
12) III Recitativo: Doch Gott Muss Mir Genädig Sein
13) IV Aria: Tief Gebückt Und Voller Reue
14) V Recitativo: Auf Diese Schmerzensreu
15) VI Chorale: Ich, Dein Betrübtes Kind
16) VII Recitativo: Ich Lege Mich In Diese Wunden
17) VIII Aria: Wie Freudig Ist Mein Herz
Natalie Dessay
Le Concert d'Astrée
Emmanuelle Haïm
2009 Virgin Classics
1 CD DDD
5099923500426

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December 12, 2009

Lise de la Salle SHOSTAKOVICH / LISZT / PROKOFIEV Piano Concertos n°1

With this scintillating and eagerly awaited recording, 19-year-old Lise de la Salle makes her concerto debut on disc. Once again her performances are of the highest quality, her rushes of adrenalin balanced by her precise calibration and control. Even with front-runners such as Argerich and Hamelin in the Shostakovich she holds her own, combining her freshness and ebullience with many personal and enchanting touches.
In the Liszt she is fearless in the face of every treacherous obstacle, but is also romantic and free-wheeling in the Quasi adagio. The Allegro vivace is acutely focused rather than given with a weaker if more familiar balletic grace, and in the finale de La Salle's ultra-brilliance and vivacity are very much her own. Indeed, she makes you imagine Liszt's delight if he had been able to hear such youthful aplomb.
Again, de la Salle is off like the proverbial greyhound at Prokofiev's first poco phi mosso yet she also captures all of the central Andante assai's bittersweet, faux romanticism. By her own confession, and unconsciously echoing Arthur Rubinstein, de la Salle believes that artists should nourish their playing with outside interests, with life itself, if it is to do more than sound sterile or self-absorbed, and all her performances on this very special disc refreshingly confirm her philosophy. She is admirably recorded and partnered by Lawrence Foster, while trumpeter Gthor Boldoczki joins in her sense of fim and mischief in the Shostakovich. (Bryce Morrison)

Dmitri Shostakovitch (1906-1975)
Concerto no.1 for piano, trumpet and strings in c minor, opus 35
1) Allegro moderato - Allegro vivace - Moderato
2) Lento
3) Moderato
4) Allegro con brio
Franz Liszt (1811-1886)
Piano concerto no.1 in e flat major, s.124
5) Allegro maestoso
6) Quasi adagio
7) Allegro vivace - Allegro animato
8) Allegro marziale animato
Sergey Prokofiev (1891-1953)
Piano concerto no.1 in d flat major, opus 10
9) Allegro brioso
10) Andante assai
11) Allegro scherzando

Lise de la Salle
Gulbenkian orchestra
Lawrence Foster

2005 naïve
1 CD DDD
V5053

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December 10, 2009

Erwin Schrott MOZART / VERDI / BERLIOZ / GOUNOD / MEYERBEER

Uruguayan bass-baritone Erwin Schrott has made a name for himself as a commanding and charismatic stage presence since the turn of the century, but this 2008 solo album represents his debut behind the microphone. (He's represented on disc by recordings of several live performances and is featured in an Opus Arte DVD in the title role in "Le nozze di Figaro.") In this recital he sticks for the most part to core repertoire, but he does include arias from Berlioz's "La Damnation de Faust," Verdi's "Les Vêpres siciliennes," and Meyerbeer's "Robert le Diable." He's not entirely consistent in his performances. The recital opens with Leporello's "Catalogue Aria," which he has often sung on-stage, although he has since moved on to "Don Giovanni" and made it something of a signature role. He sounds a little vocally underpowered in the opening of the aria and is disastrously out of tune on a sustained note, but by the time he gets to "Nella biona," he seems fully in character and in full voice. The problem of intonation is recurring; although it is not as noticeable as in the first aria, there's the sense that razor-sharp tuning sometimes eludes him. He's hugely impressive in the Verdi; although he's made a name for himself primarily in Mozart roles, he sounds like a true Verdian. "Elle ne m'aime pas!" from "Don Carlos" is especially effective. He brings real emotional depth to the King's despair, and his voice has tremendous strength and resonance. In the other Mozart arias, as Don Giovanni and Figaro, he's completely persuasive, with the fire and vocal agility for which his live performances are renowned. Riccardo Frizza leads Orquestra de la Comunitat Valenciana in supportive accompaniment. Decca's sound is mostly good, but occasionally there's too much resonance around the voice, creating a cavernous effect. (Stephen Eddins)

Wolfgang Amadeus Mozart (1756 - 1791)
Don Giovanni, ossia Il dissoluto punito, K.527
1) "Madamina, il catalogo è questo" [5:32]
Giuseppe Verdi (1813 - 1901)
Don Carlo
2) Elle ne m'aime pas! [9:58]
Wolfgang Amadeus Mozart (1756 - 1791)
Don Giovanni, ossia Il dissoluto punito, K.527

3) "Deh! vieni alla finestra" [2:05]
4 "Fin ch'han dal vino" [1:29]
Le nozze di Figaro, K.492
5) Bravo, signor padrone...Se vuol ballare [3:26]
Giuseppe Verdi (1813 - 1901)
Macbeth
6) Gran Scena: "Studia il passo, o mio figlio!" [4:00]
Hector Berlioz (1803 - 1869)
La Damnation de Faust, Op.24
7) Scène 6. Air de Méphistophélès. "Voici des roses" [2:47]
Wolfgang Amadeus Mozart (1756 - 1791)
Le nozze di Figaro, K.492

8) "Tutto è disposto" - "Aprite un po' quegli occhi" [4:38]
9) "Non più andrai" [3:53]
Charles Gounod (1818 - 1893)
Faust
10) No.24 Sérénade: "Vous qui faites l'endormie" [2:37]
Giuseppe Verdi (1813 - 1901)
I vespri siciliani
11) Palerme! O mon pays! O toi Palerme [7:41]
Giacomo Meyerbeer (1791 - 1864)
Robert le diable - opera in 5 acts
12) Voice donc les debris...Nonnes qui reposez [3:48]

2008 DECCA Record Co.
1 CD DDD
478 1010 0
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December 07, 2009

Ragna Schirmer HÄNDEL Die Klaviersuiten

Not many pianists champion Handel's keyboard suites, let alone record them cyclically. Yet Ragna Schirmer appears to be one of the very few to have essayed all 16 on disc.
Happily, the dry, somewhat pedantic impression she made with Bach's Goldberg Variations contrasts to her altogether warmer, more imaginative and involved Handel-playing. The music's formal origins in dance are reflected via Schirmer's well judged tempi (compare her crisp, animated Courante in No 8 to Keith Jarrett's broader, more legato treatment), and are always propelled by assertive, shapely bass-lines. At the same time, improvisatory Preludes inspire plenty of unfettered yet stylishly apt rhapsodising. Schirmer is not averse to transposing certain repeated sections up an octave or to changing her articulation second time round, while embellishments manage to be both liberal and discreet. True, there's something to be said for the mesmerising deliberation with which the more pianistically oriented Andrei Gavrilov and Sviatoslav Richter (EMI, 11/96) convey in slower movements, and lighter, suppler accounts of the Fifth Suite's famous "Harmonious Blacksmith" variations grace the catalogue. Still, for overall artistry and excellent engineering, this is the Handel cycle to acquire if you desire these works on piano. (Jed Distler, Gramophone June 2009)

This complete traversal of the keyboard suites of Handel (or, this being a German release, Händel) isn't for those who believe in harpsichord performance of Baroque keyboard works. German pianist Ragna Schirmer says in a booklet interview that "I try to sense what Handel wanted to express in the suites and to bring it out on a modern piano," and she uses a good deal of pedal, especially in the Preludes, more than in her recording of Bach's "Goldberg Variations." If you're down with such an approach, give Ragna Schirmer a try in Handel, where the competition isn't quite as thick as it is with Bach. Schirmer's is a pianistic conception, but that doesn't mean it wanders all over the map; it's consistently thought through. Schirmer generally makes one movement, often the one marked Allegro rather than one of the dance movements, into the energy center of the entire suite. You could start with the "Suite for keyboard in E minor, HWV 429" (disc 3, tracks 9-15) to get an idea. The opening Allegro is built up to a peak of intensity by means of dynamics and articulation: the notes are held longer and longer, running into each other by the movement's end with the effect of communicating a sort of ecstasy in the manner of Glenn Gould. The dances are more srhythmically traightforward. Schirmer applies a good deal of improvisation and ornamentation to the preludes and to repeats in many of the dances. The end result is that each suite takes on its own shape, and that Schirmer delivers performances that accord with her idea of Handel's keyboard music as quasi-improvisatory in nature. Nicely recorded and indicative of long engagement with the music, even if it's not for everybody. (James Manheim)
George Frideric Handel (1685 - 1759)
CD 1:
Suite for keyboard, Vol.2, No.1 in B flat major, HWV 434
1) Prélude
2) Sonata. Allegro
3) Aria con variazioni
Suite for keyboard, Vol.2, No.3 in D minor, HWV 436
4) Allemande
5) Allegro
6) Air. Lentement
7) Gigue
8) Menuett
Suite for keyboard, Vol.2, No.8 in G major, HWV 441
9) Allemande Listen
10) Allegro
11) Courante
12) Aria. Presto
13) Menuett
14) Gavotte - Double
15) Gigue
Suite for keyboard, Vol.1, No.3 in D minor, HWV 428
16) Prélude
17) Allegro
18) Allemande
19) Courante
20) Air
21) Double
22) Presto
23) Chaconne for harpsichord in G major, HWV 435
CD 2:
Suite for keyboard, Vol.1, No.2 in F major, HWV 427
1) Adagio
2) Allegro
3) Adagio
4) Allegro
Suite for keyboard, Vol.2, No.4 in D minor, HWV 437
5) Prélude
6) Allemande
7) Courante
8) Sarabande
9) Gigue
Suite for keyboard, Vol.2, No.6 in G minor, HWV 439
10) Allemande
11) Courante
12) Menuett (HWV 434/4)
13) Gigue
Suite for keyboard, Vol.2, No.5 in E minor, HWV 438
14) Allemande
15) Sarabande
16) Gigue
Suite for keyboard, Vol.1, No.5 in E major ('The Harmonious Blacksmith'), HWV 430
17) Prélude
18) Allemande
19) Courante
20) Air - Double
Suite for keyboard, Vol.1, No.8 in F minor, HWV 433
21) Prélude. Adagio Listen
22) Allegro
23) Allemande
24) Courante
25) Gigue
CD 3:
1. Suite for keyboard, Vol.1, No.1 in A major, HWV 426
1) Prélude
2) Allemande
3) Courante
4) Gigue
Suite for keyboard, Vol.1, No.6 in F sharp minor, HWV 431
5) Prélude
6) Largo
7) Allegro
8) Gigue. Presto
Suite for keyboard, Vol.1, No.4 in E minor, HWV 429
9) Allegro
10) Allemande
11) Courante
12) Sarabande
13) Gigue
Suite for keyboard, Vol.2, No.7 in B flat major, HWV 440
14) Allemande
15) Courante
16) Sarabande
17) Gigue
Suite for keyboard, Vol.1, No.7 in G minor, HWV 432
18) Ouverture. Largo
19) Andante
20) Allegro
21) Sarabande
22) Gigue
23) Passacaille
2009 ECHO Classic
3 Compact Discs
0016452BC
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You can downoload here: CD 1 / CD 2 / CD 3
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December 05, 2009

Ildebrando D'Arcangelo HANDEL Arie italiane per basso

When we consider the singers for whom Handel wrote his operas, we probably think first of the preening castratos who, throughout Europe, were the vocal superstars of the day. Then we may think of sopranos such as the temperamental Faustina Bordoni and Francesca Cuzzoni, whose rivalry was so intense that they once came to blows onstage.
Handel's basses are perhaps less celebrated, but he wrote for them with the same care and attention that he lavished on the castratos and sopranos. As often as not the bass roles were the fathers and despots, benign or otherwise, who, while rarely providing the central love interest, nevertheless played a pivotal part in the dramas unfolding around them. As D'Arcangelo puts it, Handel's bass arias “demand vocal agility of course, but in these arias, there is also blood, death and war, as well as tender passion. That gives the singers a real opportunity to show their dramatic power."
Not all the works represented in this collection are operas, but even those that are not - Apollo e Dafne and Aci, Galatea e Polifemo - reveal the composer's dramatic instincts in full flight. These are among the best of the secular cantatas that Handel composed during his period in Italy, 1706-09, although Apollo e Dafne was actually completed in Hanover in 1710, when Handel had returned to Germany. Also written in Italy was Agrippina, such a hit in Venice at its 1709 premiere that, according to one contemporary report, the theatre resounded with cries of “Viva il caro Sassone": “Long live our dear Saxon". London audiences were equally quick to take Handel to their hearts, and the remainder of Ildebrando D'Arcangelo's anthology covers his career in the city that became his home in 1710.
In Handel's day, the description “bass" embraced both bass and baritone ranges. As a bass-baritone, Ildebrando D'Arcangelo has the ideal kind of voice for this repertoire, but that does not mean that Handel's music is an easy ride for him. As he says, “It came as a surprise to find out how difficult this music was for my voice. When you first look at the score of an aria like 'Fra l'ombre e gl'orrori' from Aci, Galatea e Polifemo, you think it's impossible for one singer to have the range to cope with it. That was the challenge for me: I wanted to sing the impossible. Perhaps in Handel's day they sang the high notes in falsetto; we don't know, but I tried to sing them in full voice."
Handel's basses may not have been as flamboyant as the castratos, but they were characters intheir own right. They included the delightfully named Gustavus Waltz, who took the role ofKing of Scotland in the premiere of Ariodante (1735), and who was at one time thought, probably wrongly, to have been Handel's cook. Another whose voice particularly impressed Handel was Giuseppe Maria Boschi. An Italian who first performed Handel's music in Italy, Boschi created the role of Pallas in Agrippina, and later joined Handel in London. There he made a great impression with his performance of so-called “rage" arias; the historian Charles Burney says “Handel's genius and fire never shone finer than in the base [sic] songs which he composed for Boschi, whose voice being sufficiently powerful to penetrate through a multiplicity of musical parts, Handel set every engine to work in the orchestra to enrich the harmony, and enliven the movement."
We can hear the results in Ildebrando D'Arcangelo's selection of arias from Rinaldo, Siroe, Giulio Cesare and Rodelinda, in all of which Boschi created major bass roles. Rinaldo was Handel's first opera written specifically for London; he is supposed to have written it in a fortnight, not out ofhe question if we take into account that much of the music was recycled from his period in Italy. The aria “Sibilar gl'angui", for example, is taken from the dramatic cantata Aci, Galatea ePolifemo. There it is given to the giant Polyphemus, an altogether less genial figure than he appeared in Handel's later reworking of the same story, Acis and Galatea.
Antonio Montagnana was if anything an even more remarkable singer than Boschi, and Handel took full advantage of his exceptional acting skills. Not everyone was impressed with the music that resulted; one critic complained that Montagnana, “though [playing the role of] a King, is always obliged to act (except an angry, rumbling Song, or two) the most insignificant part of the whole drama". We can judge for ourselves in the “angry, rumbling" arias that Ildebrando D'Arcangelo has selected from Ezio and Orlando - where, in the not insignificant role of Zoroastro, Montagnana was described as singing with a “voice like a cannon".
One of the arias included here was not in fact composed for a bass, but for a castrato, Caffarelli, who took the title role in the first performances of Serse. He was apparently a vain and cantankerous man, but many considered him the greatest castrato of the day. Serse's aria “Ombra mai fu" is among Handel's most famous pieces; affectionately but inaccurately known as“Handel's largo", it is a song in praise of a plane tree. Ildebrando D'Arcangelo is not the first singer unable to resist the temptation to appropriate this wonderfully expressive piece. (Nick Kimberley)

George Frideric Handel (1685 - 1759)
Agrippina, HWV 6

1) Io di Roma il Giove sono [2:05]
Orlando
2) Lascia Amor [3:58]
Siroe, Re di Persia HWV 24
3) Ove son! Che m'avvemme! [0:28]
4) Gelido in ogni vena [5:08]
Rodelinda
5) Tirannia gli diede il regno [2:34]
Ariodante HWV 33
6) "Invida sorte avara" [5:07]
7) "Voli colla sua tromba" [4:08]
Aci, Galatea e Polifemo HWV 72
8) Fra l'ombre e gl'orrori [5:30]
Rinaldo
9) "Sibilar gli angui d'Aletto" [4:48]
Ariodante HWV 33
10) "Al sen ti stringo" [3:39]
Orlando
11) O voi, del mio poter ministri eletti [1:06]
12) Sorge infausta una procella [3:56]
Serse
13) Frondi tenere [0:38]
14) "Ombra mai fù" [2:43]
Ezio (or Aetius), 1732
15) Già risonar dintorno [5:29]
Apollo e Dafne (La terra è liberata)
16) Aria: "Mie piante correte" [3:08]
Giulio Cesare in Egitto HWV 17
17) No.15 Aria "Tu sei il cor di questo core" [4:39]

Ildebrando D' Arcangelo
Modo Antiquo
Federico Maria Sardelli


2009 Deutsche Grammophon GmbH, Hamburg
1 CD DDD
477 8361 9 GH

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December 02, 2009

Natalie Dessay MAD SCENES

Natalie Dessay's collection of coloratura mad scenes from Italian, French, and American opera is culled from a variety of previous high-profile releases of recitals and complete operas, so avid fans of the soprano aren't likely to find new performances here, except perhaps "Glitter and be gay," from "Candide," from the 1997 EMI disc Centenary Gala at Glyndebourne. This disc makes an excellent introduction for listeners new to Dessay, though. It highlights her acute dramatic gifts, both tragic and comic, and her characteristic gleaming purity, agile flexibility, and focused musicality are evident throughout. While comic arias aren't generally considered mad scenes, the Bernstein perhaps qualifies for expressing a different kind of madness, and Dessay's riotous performance is deliriously and deliciously over the top. One of the most interesting things about the album is the inclusion of Lucia's mad scene from both the Italian and French versions of the opera, both conducted by Evelino Pidò, the French from a 2002 recording of the complete opera, and the Italian from 2007 recital. Dessay is in top form in both performances (even though the first was made just prior to the vocal difficulties that required surgery). The 2007 version ultimately makes a stronger impression, though, because Dessay's characterization has matured, and this Lucia seems more deeply tragic. Also, the use of a glass harmonica, instead of the flutes that replace it in most modern performance, provides a distinctive ghostly halo that makes a tremendous difference in the tone of the scene. Pidò, who leads Concerto Köln on three tracks, offers an especially attentive and sensitive accompaniment. The ambience of the sound varies between tracks because of the diverse sources of the recordings, but it is never less than very fine. (Stephen Eddins)

1) Lucie De Lammermoor - Acte III: Mon Nom S'est Fait Entendre..L'autel Rayonne..Ashton S'avance..Je Vais Quitter La Terre
Natalie Dessay/Nicolas Cavallier/Orchestre de l'Opéra National de Lyon/Evelino Pidò
2) I Puritani: O Rendetemi La Speme..Qui La Voce Sua Soave..Vien Diletto
Natalie Dessay/Concerto Köln/Franck Ferrari/Evelino Pidò/Matthew Rose
3) Hamlet, Act 4: A Vos Jeux Mes Amis
Michel Plasson/Natalie Dessay/Choeur 'Les Elements'/Orchestre Du Capitole De Toulouse
4) Candide: Glitter And Be Gay
Natalie Dessay/London Philharmonic Orchestra/Sir Andrew Davis
5) Le Pardon De Ploërmel': Ombre Légère (Shadow Song)
Natalie Dessay/Orchestre Philharmonique De Monte Carlo/Patrick Fournillier
6. Lucia Di Lammermoor: Il Dolce Suono..Ardon Gli Incensi..S'avanza Enrico..Spargi D'amaro Pianto
Natalie Dessay/Concerto Köln/Europäischer Kammerchor/Wolfgang Klose/Evelino Pidò/Sascha Reckert/Matthew Rose

2009 Virgin Classics
1 CD DDD
5099969946905

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