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Pál Németh, Capella Savaria - Georg Muffat: Twelve Concerti Grossi (1996)

Posted By: ArlegZ
Pál Németh, Capella Savaria - Georg Muffat: Twelve Concerti Grossi (1996)

Pál Németh, Capella Savaria - Georg Muffat: Twelve Concerti Grossi (1996)
EAC | FLAC | Image (Cue & Log) ~ 598 Mb | Total time: 52:32+59:08 | Scans included
Classical | Label: Hungaroton | # HCD 31666-67 | Recorded: 1995, 1996

Of remoter Scottish and nearer French ancestry, the German composer and organist Georg Muffat was employed in Vienna, Prague, Salzburg and finally Passau. A visit to Rome brought acquaintance with Corelli and his music, an influence on Muffat’s own orchestral suites and sonatas.

Mária Zadori, Paul Esswood - George Frideric Handel: Duets & Cantatas (1984)

Posted By: ArlegZ
Mária Zadori, Paul Esswood - George Frideric Handel: Duets & Cantatas (1984)

Mária Zádori, Paul Esswood - George Frideric Handel: Duets & Cantatas (1984)
EAC | FLAC | Image (Cue & Log) ~ 439 Mb | Total time: 47:30+48:02 | Scans included
Classical | Label: Hungaroton | # HCD 12565-2 | Recorded: 1984

These records offer seven of the duets Handel wrote about 1710 for Italian aristocratic parties (they are said to be influenced by Steffani), three much later duets of the 1740s presumably composed in England (why, one wonders?), and one cantata for each singer of which the date is not known. None of these items is available in the current catalogue, and most of them fell on my ears with delightful freshness. This really is lovely music. The duets are mostly in three short sections, the voices treated fugally in the quicker movements but with a lot of coloratura thrown in, and a quiet lyrical middle section in between.

Mária Zádori, Pál Németh, Capella Savaria - George Frideric Handel: Latin Motets (1997)

Posted By: ArlegZ
Mária Zádori, Pál Németh, Capella Savaria - George Frideric Handel: Latin Motets (1997)

Mária Zádori, Pál Németh, Capella Savaria - George Frideric Handel: Latin Motets (1997)
EAC | FLAC | Image (Cue & Log) ~ 330 Mb | Total time: 68:49 | Scans included
Classical | Label: Hungaroton | # HCD 31649 | Recorded: 1996

Motety religijne Händla, choć oparte zostały na bogobojnych tekstach łacińskich, mają w istocie charakter solowych kantat o skocznych tempach i pogodnym, wesołym, nastroju. Głos Marii Zadori - jasny, lekki, niewinny, dziecinny - idealnie pasuje do atmosfery tych utworów. Barwą i giętkością przypomina trochę Emmę Kirkby. Bez najmniejszych problem?w węgierska śpiewaczka radzi sobie z bogatą ornamentyką, z koloraturą i z fragmentami lirycznymi (początek motetu "Silete venti"). Nie szarżuje, nie przeciąga najwyższych dźwięków. Biegłość techniczna i nienaganna intonacja pozwalają jej skupić się na interpretacji, co najpiękniejszy efekt daje w motecie "Coelestis dum spirat aura".

Pál Németh, Savaria Baroque Orchestra - Antonio Caldara: La Passione di Gesù Cristo Signor Nostro & Sinfonias (1999)

Posted By: ArlegZ
Pál Németh, Savaria Baroque Orchestra - Antonio Caldara: La Passione di Gesù Cristo Signor Nostro & Sinfonias (1999)

Pál Németh, Savaria Baroque Orchestra - Antonio Caldara: La Passione di Gesù Cristo Signor Nostro & Sinfonias (1999)
EAC | FLAC | Image (Cue & Log) ~ 577 Mb | Total time: 58:30+65:36 | Scans included
Classical | Label: Hungaroton | # HCD 31862-63 | Recorded: 1998

This the work was first given in Vienna during Holy Week, 1729, the first of many collaborations between Caldara and Metastasio. Mention of the great librettist provides a prompt that my original review failed to stress the outstanding qualities of the text. Divided into two halves, the first part of the oratorio relates the story of the crucifixion as witnessed through the eyes of Mary Magdalene, John, and Joseph of Arimathea, who respond to the eager questioning of the remorseful Peter. The second part consists of philosophical commentary on the meaning of the crucifixion. Particularly in Part I, Metastasio draws on vivid imagery to convey the full horror of the event. Here, for example, is John describing the nailing to the cross: "… and some hardened, loutish men, sweating as they worked, bathed his face with their foul perspiration."

Pál Németh, Capella Savaria - George Frideric Handel: St John Passion / Johannes-Passion (1995)

Posted By: ArlegZ
Pál Németh, Capella Savaria - George Frideric Handel: St John Passion / Johannes-Passion (1995)

Pál Németh, Capella Savaria - George Frideric Handel: St John Passion / Johannes-Passion (1995)
EAC | FLAC | Image (Cue & Log) ~ 254 Mb | Total time: 60:04 | Scans included
Classical | Label: Hungaroton | # HCD 12908 | Recorded: 1995

The St. John Passion was long regarded as an early work by Handel, written in Hamburg in 1704. It had to be early, as there are few really Handelian fingerprints in the music. In the late 1960s though, musicologists started allocating it to Georg Böhm (1661-1733), a Thuringian-born composer who worked in Hamburg and Luneburg. He is remembered chiefly for his fine organ music and his influence on Bach. But the record booklet makes an interesting case for Handel's authorship, particularly as Handel's friend Mattheson was an advocate of the work.

Péter Fried, Pál Németh, Savaria Baroque Orchestra - Alessandro Scarlatti: Cantatas for bass & obbligato instruments (2006)

Posted By: ArlegZ
Péter Fried, Pál Németh, Savaria Baroque Orchestra - Alessandro Scarlatti: Cantatas for bass & obbligato instruments (2006)

Péter Fried, Pál Németh, Savaria Baroque Orchestra - Alessandro Scarlatti: Cantatas for bass & obbligato instruments (2006)
EAC | FLAC | Image (Cue & Log) ~ 322 Mb | Total time: 64:28 | Scans included
Classical | Label: Hungaroton | # HCD32456 | Recorded: 2006

Savaria Baroque Orchestra under the artistic direction of Pál Németh have been among the leading interpreters of Baroque music in Europe for 25 years, and bassist Péter Fried can also look back on an impressive international career. The instrumentalists once again offer an excellent, stylistically adept, technically flawless performance, which is also characterized by the successful balance between the individual instruments.

Nicholas McGegan, Pal Nemeth, Capella Savaria - Handel: Terpsicore, Alcina (orchestral parts), Ariodante (ballet music) (1993)

Posted By: ArlegZ
Nicholas McGegan, Pal Nemeth, Capella Savaria - Handel: Terpsicore, Alcina (orchestral parts), Ariodante (ballet music) (1993)

Nicholas McGegan, Pál Németh, Capella Savaria - Handel: Terpsicore, Alcina (orchestral parts), Ariodante (ballet music) (1993)
EAC | FLAC | Image (Cue & Log) ~ 293 Mb | Total time: 61:20 | Scans included
Classical | Label: Hungaroton | # HCD31193 | Recorded: 1993

Terpsicore (HWV)(8b) is a prologue in the form of an opéra-ballet by George Frideric Handel. Handel composed it in 1734 for a revision of his opera Il pastor fido which had first been presented in 1712. The revision of Il pastor fido with Terpsicore as the prologue was first performed on 9 November 1734 at Covent Garden theatre in London, opening Handel's first season in that newly built theatre. Terpsicore mixes dance along with solo and choral singing and was patterned after models in French operas, a particular source being Les festes grecques et romaines by Louis Fuzelier and Colin de Blamont, first presented in Paris in 1723. The work featured the celebrated French dancer Marie Sallé as well as stars of Handel's Italian operas and was a success with audiences of the day.

Handel in Italy: Cantatas, Arias, Serenata [14CDs] (2017)

Posted By: ArlegZ
Handel in Italy: Cantatas, Arias, Serenata [14CDs] (2017)

Handel in Italy: Cantatas, Arias, Serenata [14CDs] (2017)
EAC | FLAC | Image (Cue & Log) ~ 3,55 Gb | Total time: 12 h 26 min | Scans included
Classical | Label: Brilliant Classics | # 95496 | Recorded: 1988, 1995, 2005-2010, 2014

This set presents an extensive collection of works which George Frideric Handel wrote during his short but astoundingly fruitful stay in Italy. Here he met the great composers of the day, imbuing the rich Italian style, full of drama, cantabile and instrumental brilliance.

Pál Németh, Savaria Baroque Orchestra - Tomasso Albinoni: Vespetta e Pimpinone; 6 Balletti a Cinque (2001)

Posted By: ArlegZ
Pál Németh, Savaria Baroque Orchestra - Tomasso Albinoni: Vespetta e Pimpinone; 6 Balletti a Cinque (2001)

Pál Németh, Savaria Baroque Orchestra - Tomasso Albinoni: Vespetta e Pimpinone; 6 Balletti a Cinque (2001)
EAC | FLAC | Image (Cue & Log) ~ 374 Mb | Total time: 73:40 | Scans included
Classical | Label: Hungaroton | # HCD 32006 | Recorded: 2000

Pimpinone o Vespetta e Pimpinone-Intermezzo u ópera cómica en tres actos con música de Tomaso Albinoni y libreto en italiano de [Pietro Pariati]. Se estrenó en el Teatro San Cassiano Venecia 26 de noviembre 1708. Esta obrita pertenece a un género operístico propio del Barroco, Intermezzo , que se desarrollaba en los entreactos óperas serias. En este caso, se representó entre acto y acto de la ópera Astarto, dramma per musica en tres actos del mismo Tomaso Albinoni, con libreto de Apostolo Zeno y Pietro Pariati. Gozó de gran notoriedad en las tres décadas siguientes, representándose también fuera de Italia en lugares como Viena.

Pál Németh, Capella Savaria - Georg Philipp Telemann: Three Overtures Suites (1999)

Posted By: ArlegZ
Pál Németh, Capella Savaria - Georg Philipp Telemann: Three Overtures Suites (1999)

Pál Németh, Capella Savaria - Georg Philipp Telemann: Three Overtures Suites (1999)
EAC | FLAC | Image (Cue & Log) ~ 395 Mb | Total time: 57:41 | Scans included
Classical | Label: Hungaroton | # HCD 31741 | Recorded: 1998

The title “Overture Suites” stems from the stage tradition of the court of Louis XIV in which the overture for an opera, ballet, or play was followed by a set of dances. The term “overture” was applied to the whole grouping, though in actuality these are orchestral suites as we understand the term from J.S. Bach. Some of Telemann’s overture suites are delightful works that must have provided wonderful preparatory entertainment for the evening’s main event. The G major suite, whose title “La Putain” translates as “The Whore”, quotes from the song “It’s been so long since I’ve come to you”. Despite the bawdy name, the suite is filled with jaunty, lively melodies and inventive, characterful dances.

Pál Németh, Capella Savaria - Carl Heinrich Graun: Der Tod Jesu (1992)

Posted By: ArlegZ
Pál Németh, Capella Savaria - Carl Heinrich Graun: Der Tod Jesu (1992)

Pál Németh, Capella Savaria - Carl Heinrich Graun: Der Tod Jesu (1992)
EAC | FLAC | Image (Cue & Log) ~ 312 Mb | Total time: 78:32 | Scans included
Classical | Label: Harmonia Mundi | QUI 903061 | Recorded: 1991

Der Tod Jesu of Carl Heinrich Graun (1704–59), completed in 1755, was for decades the musical mainstay of Passiontide services (a position now held by Bach’s and St. John Passions), being performed by the Berlin Singakademie virtually every Good Friday until 1884. Unlike the passions of Bach, Schütz, and other predecessors, Graun’s work does not set any texts of Scripture. Instead, in line with burgeoning Enlightenment sensibilities, the entire libretto by Carl Wilhelm Ramler (1725–98) is written in the exalted style of impassioned poetic declamation common to opera libretti of the era, in supposed imitation of Greek tragedy. At less than half the length of the Bach passions, and musically far less complex, with dignified and attractive arias composed in a style somewhat akin to those of Handel’s Messiah , it remains winsome even today, and its enduring popularity is readily comprehended.

Pál Németh, Savaria Baroque Orchestra - Caldara: Oratorio di Santo Stefano primo re dell'Ungheria (2011)

Posted By: ArlegZ
Pál Németh, Savaria Baroque Orchestra - Caldara: Oratorio di Santo Stefano primo re dell'Ungheria (2011)

Pál Németh, Savaria Baroque Orchestra - Caldara: Oratorio di Santo Stefano primo re dell'Ungheria (2011)
EAC | FLAC | Image (Cue & Log) ~ 389 Mb | Total time: 78:45 | Scans included
Classical | Label: Hungaroton | HCD 32690 | Recorded: 2011

Hungarian conductor Pál Németh seems to be starting a series of larger-sacred works by Viennese composer Antonio Caldara. Coming on the heels of his Paschal work La passion di Gesù Cristo , likewise on Hungaroton, this particular oratorio features something that should resonate in Budapest, since it focuses on King Stephen, the country’s patron saint. Regardless of the subject matter, however, the work conforms to the typical Italian oratorio of the early 18th century, that is to say, a sacred mirror of the opera seria consisting of a series of da capo arias following recitatives.

Pál Németh, Savaria Baroque Orchestra - Alessandro Scarlatti: Il Trionfo dell' Onestà, Venere e Amore (2003)

Posted By: ArlegZ
Pál Németh, Savaria Baroque Orchestra - Alessandro Scarlatti: Il Trionfo dell' Onestà, Venere e Amore (2003)

Pál Németh, Savaria Baroque Orchestra - Alessandro Scarlatti: Il Trionfo dell' Onestà, Venere e Amore (2003)
EAC | FLAC | Image (Cue & Log) ~ 403 Mb | Total time: 66:32 | Scans included
Classical | Label: Hungaroton ‎| # HCD32101 | Recorded: 2001, 2002

Deux oeuvres mineures de Scarlatti composent cet enregistrement, deux sérénades galantes mettant en scène l’une le triomphe de l’honnêteté sur Cupidon, l’autre Vénus et son fils l’Amour vantant ses victoires. Ersatz d’opéras, interdits par le pape À Rome lorsque Scarlatti est au service d’Ottoboni, mais sans vrai schéma dramatique, exportées sans grand succès à Naples comme Venere e Amore, ces compositions pour le plein air ou le théâtre privé sont charmantes mais d’un intérêt secondaire. Reste la curiosité au disque d’un volet du travail de Scarlatti peu connu.

Pál Németh, Capella Savaria - Alessandro Scarlatti: Stabat Mater (1986)

Posted By: ArlegZ
Pál Németh, Capella Savaria - Alessandro Scarlatti: Stabat Mater (1986)

Pál Németh, Capella Savaria - Alessandro Scarlatti: Stabat Mater (1986)
EAC | FLAC | Image (Cue & Log) ~ 306 Mb | Total time: 44:39 | Scans included
Classical | Label: Hungaroton| # HCD 12732-2 | Recorded: 1986

Scarlatti composed his Stabat mater for the Neapolitan brotherhood of the Cavalieri della Vergine dei dolori. He scored it for two solo voices, soprano and mezzo-soprano with an orchestra of strings. The Stabat mater text prevented him from adopting the 'recitative-aria' patter of the cantata and so he alternated solo and duet numbers almost throughout, introducing two short arioso sections towards the conclusion of the work. scarlatti, like Pergolesi, shows remarkable resourcefulness in the achievement of variety within what, on the face of it, looks like a restricted pattern. Pergolesi, incidentally, composed his Stabat mater for the same Neapolitan brotherhood and must certainly have takne Scarlatti's setting as his model since the similarities are too numerous and too close to be merely accidental.