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 blockmrecords.org
Сообщение26.01.2020, 04:59 
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10/10/18
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Andrey A в сообщении #1436947 писал(а):
У меня сам http://blockmrecords.org/ тупо не открывается. Видимо региональный фильтр, хотя обычно это не так выглядит.
У меня открывается. И не только у меня. Выглядит в точности вот так.

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 Re: Слушает ли кто классическую музыку?
Сообщение26.01.2020, 07:53 
Заслуженный участник
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21/11/12
1870
Санкт-Петербург

(ok, проехали)

SergeCpp в сообщении #1436951 писал(а):
Выглядит в точности вот так.
Это мой броузер ругается на незащищенные соединения. Отлично выглядит )

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 Of Sarabande from Partita 6 in E minor, BWV 830
Сообщение26.01.2020, 12:46 
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10/10/18
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Я тут уже цитировал мнение David Schulenberg о Партите 6 (клавирной) Баха (ниже повторю).

На днях я в ютубе обнаружил одну запись, а сегодня с утра добрался и до буклета. (Роскошнейший и интереснейший буклет!)

Так вот, Martin Gester (исполнитель-клавесинист) там пишет следующее о Сарабанде из Партиты 6: "As for the following Sarabande, it plunges us into deep reflection. It is a pure lamento and perhaps the most intensely expressive piece in all of Bach’s works for harpsichord.".

Изображение
Bach: Clavier-Übung I (Partitas, BWV 825-830) — Martin Gester (Harpsichord)

Запись 2013 года, общая длительность — два с половиной часа в точности (+7 секунд).
Роскошнейший буклет есть на странице Martin Gester на Bach Cantatas. Там два pdf, большой (он слева там) — собственно буклет, маленький (справа) — текстовая часть с дополнениями от 2017 года.

Та самая Сарабанда.

P. S. Цитата из книги David Schulenberg «The Keyboard Music of J.S.Bach» (pg. 340): "The Sixth Partita is the crowning work of the set and Bach's greatest suite. The allemande and sarabande contain some of the most audacious and dramatic melodic embellishment ever written, and the work opens and closes with two particularly ambitious contrapuntal movements."

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 Гайдн
Сообщение23.02.2020, 18:00 
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10/10/18
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Хорошая статья-беседа о Гайдне:
Сергей Невский: «Без Гайдна ничего этого просто бы не произошло…» (веб-архив).

Изображение
Haydn: Symphonies — Sturm und Drang, Paris & London
Orchestra Of The Age Of Enlightenment
Orchestra of the Eighteenth Century
Frans Bruggen
Music by Haydn with orchestras that use instruments of the period (or copies thereof).

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 Re: Слушает ли кто классическую музыку?
Сообщение24.02.2020, 08:24 
Заслуженный участник
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21/11/12
1870
Санкт-Петербург
Спасибо! Эти "средние" симфонии легче на душу ложатся чем даже Лондонские, 46-ю можно слушать каждый день. Крепкого чаю еще заваришь под утро, и жизнь налаживается (почти как в анекдоте) — терапевтический эффект. Гендель это тоже умеет. Кстати, сохранились античные медицинские трактаты о благотворном влиянии на здоровье различных ладов — лидийского, ионийского и т.д.

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 Re: Слушает ли кто классическую музыку?
Сообщение24.02.2020, 12:20 
Заблокирован


16/04/18

1129
Слушал много вариантов исполнения этюдов Шопена, и хороших много. Недавно послушал в исполнении Валентины Лисицы этюды Шопена и Шумана (запись есть где обычно). Очень понравилось. Также в её исполнении переложения для ф-но Наймана, из фильмов Пианино и тд, тоже очень приятно сыграно и переложено.

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 Vivaldi — I Musici
Сообщение29.02.2020, 09:44 
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10/10/18
739
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Vivaldi в исполнении I Musici.

Изображение

Vivaldi: Concerti Op.3 — "L'estro armonico"
Vivaldi: Concerti Op.8 — "Il cimento dell'armonia e dell'inventione" ("Времена года" здесь)
Vivaldi: Concerti Op.9 — "La cetra"

Vivaldi: 10 Concertos for Strings
Vivaldi: 9 Concertos for Strings (все другие)
Vivaldi: 6 Concertos for Oboe & Strings

Vivaldi: 5 Violin Concertos
Vivaldi: 8 Flute Concertos

Vivaldi: Concerti per Viola d'Amore
Vivaldi: Concerti per Strumenti Diversi

//

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 Haydn Piano Trios — Beaux Arts Trio
Сообщение02.03.2020, 16:32 
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10/10/18
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Изображение
Haydn Complete Piano Trios — Beaux Arts Trio
То же (почти) — другой выпуск (позже)
Частичные: Trios 24—27 & Trios 28—31

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 Thomas Tallis (1505—1585) Complete Works
Сообщение11.03.2020, 10:59 
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10/10/18
739
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Изображение
Thomas Tallis (1505—1585) Complete Works — Chapelle du Roi & Alistair Dixon
156 tracks, ~11 hours.

Dr. Tim Parker (Amazon) писал(а):

Wonderful box of superb music

<...>

PostScript: I've been through this box several times over the past months, and am truly impressed. I've compared a lot of these recordings to other Tallis recordings I own, and almost without exception these are wonderful. While I am not a general fan of these Brilliant Classic compendiums, in this case I'm delighted to be overwhelmed. The performances are absolutely top notch. I can't get enough of this box.

Dr. Tim Parker
amazon.ca/review/R1HABIK6YS4WJN

Отдельные альбомы-плейлисты.
Tallis. Spem in Alium — Sing and Glorify
Tallis. Spem in Alium
Tallis. Complete Works. Vol 1 | V. 2 | V. 3 | V. 4 | V. 5 | V. 6 | V. 7 | V. 8 | V. 9 | V. 10

Ещё одно исполнение Videte miraculum — для сравнения.
Изображение
Thomas Tallis. Videte miraculum — Stile Antico (11:38)
Thomas Tallis. Videte miraculum — Chapelle du Roi & Alistair Dixon (9:12)

N.B. "Me, actually — the part of all of us that, in my case, caused me to stand in awe the first time I heard Thomas Tallis's Spem in alium..." (Terry Pratchett, Wikiquote).

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 Claudio Monteverdi (1567—1643) Selva morale e spirituale
Сообщение13.03.2020, 09:00 
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10/10/18
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Claudio Monteverdi — Selva morale e spirituale / Moral and Spiritual Forest
The Sixteen & Harry Christophers

Volume One | Volume Two | Volume Three
Total 39 tracks, 3 hours 33 minutes.

Цитата:
Claudio Giovanni Antonio Monteverdi (baptized 15 May 1567 – 29 November 1643) was an Italian composer, string player, choirmaster, and priest. As composer, he is considered a crucial transitional figure between the Renaissance and the Baroque periods of music history and the most important composer of the early Baroque period. He revolutionised the music with his dramatic and imaginative use of voices and instruments and with his daring harmonies and rhythms. Next to his Vespers of 1610, the Selva morale e spirituale of 1641 is his most significant and virtuosic collection of sacred music. Monteverdi stretches every singer’s versatility to the limit in this demanding but exhilarating music.

Compiled from Wikipedia, Simple Wikipedia and Album Description.

Selva morale e spirituale (Wikipedia) писал(а):
Selva morale e spirituale is considered Monteverdi's testament of church music, compiled when he was already 74 years old.
Claudio Monteverdi (Wikipedia) писал(а):
The Selva morale volume opens with a series of madrigal settings on moral texts, dwelling on themes such as "the transitory nature of love, earthly rank and achievement, even existence itself".

Quoted John Whenham (2007) "The Venetian Sacred Music", p. 204.

David Studhalter (Amazon) писал(а):

Wonderful music well performed

I have heard dozens of performances of most of these works, and these are among the better of them. I would definitely recommend this recording to anyone who already knows something of Monteverdi's work...

David Studhalter
amazon.com/review/R2VI1G11SJW1FO
lancsparismike (Amazon) писал(а):

Claudio il magnifico!

Three CDs of exceptional quality. The variety and virtuosity is astonishing - solos for all voices, glorious full choir pieces, superb instrumental accompaniment. An old style polyphonic Renaissance mass "Messa a 4 da cappella" features alongside innovative compositions in the early Baroque style.

The performance by the Sixteen is outstanding. This is music which challenges the expertise of the singers - take for example the complexity of the bass solo on CD 2 "Ab aeterno ordinata sum".

A musical feast.

lancsparismike
amazon.co.uk/review/RI3F5LUSAXEUQ

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 Suites de Clavessin
Сообщение15.03.2020, 15:33 
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10/10/18
739
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С первыми двумя альбомами (исполнения Elizabeth Farr) я знаком более десяти лет и хорошо их помню – утончённая музыка, подходящий к такой музыке инструмент, не слишком громкозвучный и не слишком насыщенный верхними гармониками, а также медленый темп исполнения. Клавесинистка Elizabeth Farr прекрасная, я полностью согласен с восторженными мнениями из процитированных ниже отзывов с Amazon. Третий альбом, в исполнении Huguette Gremy-Chauliac – именно в такой же манере, лишь немного с большим числом гармоник звук клавесина, но самую малость (есть ещё исполнение Christophe Rousset, но оно, при всей замечательности, всё же не такое утончённое).

О композиторах я дам цитаты из Википедии, если же в двух словах, то d'Anglebert и Dieupart заметно повлияли на Баха, а Jacquet de La Guerre была очень известна во времена Людовика XIV, который много лет оказывал ей свою поддержку.

* * *

Изображение
Jean-Henri d'Anglebert: Suites de Clavessin — Elizabeth Farr

Jean-Henri d'Anglebert (Wikipedia) писал(а):

Jean-Henri d'Anglebert (baptized 1 April 1629 – 23 April 1691) was a French composer, harpsichordist and organist. He was one of the foremost keyboard composers of his day.

D'Anglebert's principal work is a collection of four harpsichord suites published in 1689 in Paris under the title Pieces de clavecin. The volume is dedicated to Marie Anne de Bourbon, a talented amateur harpsichordist who later studied under Francois Couperin. Apart from its contents, which represents some of the finest achievements of the French harpsichord school (and shows, among other things, D'Anglebert's thorough mastery of counterpoint and his substantial contribution to the genre of unmeasured prelude), Pieces de clavecin is historically important on several other counts. The collection was beautifully engraved with utmost care, which set a new standard for music engraving. Furthermore, D'Anglebert's table of ornaments is the most sophisticated before Couperin's (which only appeared a quarter of a century later, in 1713). It formed the basis of J.S. Bach's own table of ornaments (Bach copied D'Anglebert's table ca. 1710), and provided a model for other composers, including Rameau.

Suites 1–4: Pieces de clavecin (Paris, 1689)
John Davies (Amazon) писал(а):

A Superb Recording

Every once in a while one discovers a recording which stands out as exceptional both in terms of technical mastery and artistic interpretation. This is one of them. Elizabeth Farr is one of many harpsichordists to rise to prominence over the past ten years or so. Her treatment of Jacquet de la Guerre's suites has won much praise from the critics and so should this superb record of a much neglected master of the 17th century French harpsichord.

Farr has decided to use a lute-harpsichord for two of the four suites... the choice is justified by D'Anglebert's brise style which closely resembles that of the lute, and by his use of complex arpeggios which are more clearly sounded by the short sustain of the lute-harpsichord than if played on a conventional harpsichord which sustains the notes for a longer period. The works in general are more intricately scored than those of either Louis Couperin or Jacquet de la Guerre.

Farr well understands D'Anglebert's system of ornaments and applies them with great skill and refinement in the opinion of this humble listener.

John Davies
amazon.co.uk/review/R1D8B4V51VL1UK

* * *

Изображение
Elisabeth Jacquet de La Guerre: Suites de Clavessin — Elizabeth Farr

Elisabeth Jacquet de La Guerre (Wikipedia) писал(а):

Elisabeth Jacquet de La Guerre (full name Elisabeth-Claude Jacquet de La Guerre; born Elisabeth Jacquet, 17 March 1665, Paris – 27 June 1729, Paris) was a French musician, harpsichordist and composer.

Jacquet de La Guerre was one of the few well-known female composers of her time, and unlike many of her contemporaries, she composed in a wide variety of forms. Her talent and achievements were acknowledged by Titon du Tillet, who accorded her a place on his Mount Parnassus when she was only 26 years old, next to Lalande and Marais and directly below Lully. A quote from Titon du Tillet describes her "marvellous facility for playing preludes and fantasies off the cuff. Sometimes she improvises one or another for a whole half hour with tunes and harmonies of great variety and in quite the best possible taste, quite charming her listeners." (Le Parnasse Francais, 1732)

Suites 1–4: Les pieces de clavessin (Paris, 1687)
Suites 5–6: Pieces de clavecin qui peuvent se jouer sur le violon (Paris, 1707)
Robin Friedman (Amazon) писал(а):

A Woman Composer of the French Baroque

Elizabeth de la Guerre was a child prodigy who, as an adult, composed music in a variety of genres during the time of Louis XIV. With the recovery of the harpsichord suites of 1687, she has the distinction of being the only French composer who wrote surviving works for the harpsichord in both the 17th and 18th centuries. A contemporary observer wrote of de la Guerre's harpsichord playing:

"she had a marvellous talent for on the spot playing of preludes and fantasies. Sometimes during an entire half hour, she would follow a prelude and fantasy with melodies and harmonies that were extremely varied and in excellent taste."

I think de la Guerre's harpsichord suites amply confirm this report of her gifts as a performer. These works are highly improvisatory and, in this recording, come alive as if they were being created under the hands of the gifted performer, Elizabeth Farr, a teacher of harpsichord and organ at the University of Colorado. Indeed, the scores that have come down to us include no tables of ornamentation; and Ms Farr has improvised and varied her performance of the ornaments and embellishments in accordance with her informed understanding of the performance practices of the French Baroque.

De la Guerre's music succeeds in being both highly stylized and highly free. In hearing it, I felt transported, not merely to the world of the Grand Siecle in France, but to the inner world of the imagination. The music, and the harpsichord on which it is played, is light in character with clear bell-like tones, quirky harmonies, and lyrical melody. There is great use made of the entire instrument in its upper and lower registers. I was caught in the flow of this music during my listening.

The quotation in this review describing de la Guerre's harpsichord playing is taken from the revised edition of "French Baroque Music" by James R. Anthony, page 258.

Robin Friedman
amazon.com/review/R1L7HF0J46XTIY

* * *

Изображение
Charles Dieupart: Suites de Clavessin — Huguette Gremy-Chauliac

Charles Dieupart (Wikipedia) писал(а):

Charles Dieupart (after 1667 – 1740) was a French harpsichordist, violinist, and composer. He is best remembered today for a collection of six harpsichord suites which influenced Johann Sebastian Bach's English Suites.

Dieupart's best-known work is Six Suittes de clavessin (Amsterdam, 1701). As the title indicates, it contains six harpsichord suites. All of them are in seven movements, always with the sequence ouverture – allemande – courante – sarabande – gavotte, a menuet or a passepied, and a gigue as the final movement. Some of the movements within a suite are linked thematically. The music represents a highly successful synthesis of French, Italian and English styles, married with imaginative harmony. The suites were popular even during the composer's lifetime: they were reissued already in 1702. Johann Sebastian Bach copied all six suites sometime between 1709 and 1714, and was influenced by Dieupart's music, particularly in the famous English Suites.

Suites 1–6: Six suittes de clavessin (A, D, b, e, F, f) (Amsterdam, 1701)
Stephen Midgley (Amazon) писал(а):

French keyboard grandeur

Francois Dieupart's most important work was this set of six suites, published in 1701. They were scored for flute or recorder and continuo, but he also published them in a version for solo keyboard which is the one we hear in the present recording.

The six suites are played for this 1999 recording by Huguette Gremy-Chauliac on an absolutely splendid copy by William Dowd of a 1770 Taskin instrument. Her playing is energetic, stylish, subtle and brilliant in decorative facility.

Gremy-Chauliac's outstanding performance, her lovely instrument and the excellent recorded sound are such that it would be immoral to give this any less than five stars.

Stephen Midgley
amazon.co.uk/review/R187HR6V7Y05MZ

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 Vivaldi — Dresden Concerti
Сообщение19.03.2020, 14:55 
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10/10/18
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Vivaldi: Dresden Concerti — Accademia I Filarmonici (Alberto Martini)

Диски целиком: Vol 1 | Vol 2 | Vol 3 | Vol 4.
Плейлисты: Vol 1 | Vol 2 | Vol 3 | Vol 4.
Всё в одном плейлисте.

Цитата:
Stylish performances of interesting Vivaldi concerti

This is the first volume of 4 released by Naxos containing performances of Vivaldi concerti that were discovered in manuscript form in the Dresden Sachsiche Landesbibliothek. Vivaldi had traveled extensively through Europe and also had many visitors, including Johann Georg Pisendel, a composer in his own rite and virtuoso violinist. He and Vivaldi struck up a teaching relationship and friendship. It is presumably by way of this friendship (or other similar) that these manuscripts ended up in Dresden, since Pisendel was the Konzertmeister of the court orchestra there.

I have all 4 volumes, which present extremely engaging renditions by one of Italy's foremost chamber groups, Accademia I Filarmonici, led by Alberto Martini. Most of the concerti here, as well as the other volumes, are for solo violin. However, the attractive things about these concerti is their never-ending inventiveness. In contrast to many of the concerti contained in Vivaldi's "published" opuses (often geared toward decent amateur instrumentalists), Vivaldi took more liberties with individually-composed pieces, and tailored more of the writing to the — often considerable — skills of well-known soloists. Many of these unpublished concerti often have nicely embedded musical jokes or forms of musical experimentation that Vivaldi delighted in trying out. All this puts paid to Stravinsky's well-known gibe that "Vivaldi composed the same concerto over and over again 400 times." Many of these concerti have not been recorded before, which is an added bonus to those of us who love collecting "new" Vivaldi.

Altogether a lot of fun. The recording quality is decent, but not altogether remarkable; recordings made in the mid-90s.

As importantly, this Naxos series is quite inexpensive, so you can dip your foot in by purchasing any of the 4 volumes and see if they delight you as much as they have others.

Highly recommended.

John K. Gayley
amazon.com/review/R3OIYG1N439MUZ

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 Re: Слушает ли кто классическую музыку?
Сообщение21.03.2020, 02:42 


27/02/09
2791
20 марта Московская филармония начинает прямые трансляции сольных и камерных концертов без публики из Концертного зала имени П. И. Чайковского на сайте meloman.ru

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 Pietro Soraci
Сообщение22.03.2020, 07:20 
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10/10/18
739
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Изображение

J.S.Bach: [ English Suites | Partitas: Vol. 1 & Vol. 2 | Goldberg Variations ] — Pietro Soraci (Piano)

Цитата:
The Italian pianist, Pietro Soraci, showed his extraordinary natural talent in playing the piano since he was 3 years old, gaining the interest of the national press and televisions. He performed first when he was 11, with the Orchestra of Bellini Opera Theater.

...he was awarded of several prizes in national and international piano competitions and in particular he was recognized as the best Italian pianist by the International Piano Competition Frederic Chopin in Varsaw (Poland) in 1985.

J.S.Bach: Samtliche Klavierwerke: Project created with the collaboration of the pianist Pietro Soraci and the musicologist and president of the Osaka Mozart Association Edmondo Filippini... a completely new version, each release is based on the only extant complete critical edition published by Barenreiter who is also one of the project supporter.

bach-cantatas.com/Bio/Soraci-Pietro.htm

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 Haydn String Quartets Anthology — Schuppanzigh Quartet
Сообщение24.03.2020, 14:53 
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10/10/18
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Изображение
Haydn String Quartets Anthology — Schuppanzigh Quartet

[ Vol. 1 | Vol. 2 | Vol. 3 ]

Небольшая коллекция струнных квартетов Гайдна — ранних и поздних, широкоизвестных и тех, которые обычно "в тени" — в замечательно-медленном аутентичном исполнении (period performance) коллектива Schuppanzigh Quartet.

В качестве приложения — мини-сравнение четырёх исполнений Adagio из квартета Op. 9 No. 6. Осторожно относящимся к струнной музыке рекомендуется послушать хотя бы одно из них (любое).

Haydn String Quartet A Major Op 9 No 6: III. Adagio — Festetics Quartet (9:10, period performance)
Haydn String Quartet A Major Op 9 No 6: III. Adagio — Schuppanzigh Quartet (6:17, period performance)
Haydn String Quartet A Major Op 9 No 6: III. Adagio — Kodaly Quartet (6:52, modern performance)
Haydn String Quartet A Major Op 9 No 6: III. Adagio — Angeles Quartet (4:08, modern performance)

//

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