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May 13 2010

02mydafsoup-01

Springville - Miles Davis & Gil Evans Orchestra | ~ 1959

02mydafsoup-01

Summertime - Miles Davis - Gil Evans Orchestra | ~ 1959

02mydafsoup-01

All Blues - Miles Davis | rec ~ 1959

April 20 2010

02mydafsoup-01

Johanna Martzy (1924-1979)

By David Patrick Stearns - Andante, 2001

  

The mystique of the lovely Hungarian violinist is growing — even though she's been dead for more than twenty years. [...]

Johanna martzy

Posthumous careers such as Martzy's germinate unpredictably, often from the second-hand LP record market. Her EMI and Deutsche Grammophon LPs, dating from the 1950s, now go for as much as $500 a disc. Perhaps in response to that, Japanese EMI released the six-disc "Art of Johanna Martzy" in 1988. The first Martzy CD release in the West came in 1994 with her Brahms and Mendelssohn concerto performances on Testament. Then from smaller labels came a flood of previously unreleased material:.The England-based Coup d'Archet delivered five discs of European radio releases that were hard to get in the U.S. (though some have turned up on Amazon.com). The Doremi label has a series of live recitals taped in Canada, though only Volume 1 is currently available. Meanwhile, Japanese EMI re-released its Martzy CD box this year with an added bonus: two long-suppressed recordings from 1954 of the violinist playing Mendelssohn and Mozart with Sawallisch, made amid quarrels about tempo and other matters.

Slowly, Martzy's biography has emerged: her birth in Transylvania, education in pre-war Budapest, the devastating death of her second husband,  the false accusations about her political affiliations  and her decision to leave EMI rather than grant sexual favors to its  chief, Walter Legge. If that doesn't draw you in, the photographs of Martzy will: she was a slim, fine-featured woman, her hair always tied up in a bun, the violin never far from her hands, her eyes often distant and quite sad. Music lovers aren't supposed to be entranced by such superficialities, but that's just what makes these posthumous reputations.  [...]



W.A. MOZART: Violin Concerto No. 4 in D, KV 218 (1775) - Partitur/ score

Johanna Martzy, violin, (Wikipedia - FR)
Eugen Jochum, conducter, (Wikipedia - EN, DE, FR)
1952 Symphony Orchestra of the Bavarian Broadcasting Corperation [Chamber Orchestra],  (Wikipedia - EN, DE, FR)




- uploaded by otterhouse 20100420
- playlist by 02myytlogin 20100421
 
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oanth - muc - 20100421- soup.io
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March 21 2010

02mydafsoup-01
Play fullscreen
Dove sei, King Bertaridos recitative and aria
from the opera Rodelinda by George Frideric Handel.


Russell Oberlin, male alto /counter tenor.
rec ~ late 1950ies

HD youtube permalink
==============================

(text from the yt sidebar - account: sfkcbf )

Pompe vane di morte!
Menzogne di dolor, che riserbate
il mio volto e 'l mio nome, ed adulate
del vincitor superbo il genio altiero!
Voi dite, ch'io son morto;
ma risponde il mio duol, che non è vero.
(legge l'iscrizione:)
"Bertarido fu Re; da Grimoaldo
vinto fuggì, presso degli Unni giace.
Abbia l'alma riposo, e 'l cener pace."
Pace al cener mio? Astri tiranni!
Dunque fin ch'avrò vita,
guerra avrò con gli stenti, e con gli affanni.

Dove sei, amato bene?
Vieni, l'alma a consolar.

Sono oppresso da' tormenti
ed i crudeli miei lamenti
sol con te posso bear.

The hollow splendour of death!
This sham of grief preserves
my name and likeness, and yet flatters
the pride of the haughty victor!
You say that I am dead,
but my grief replies that it is not so.
(reading the inscription from the tomb)
Bertarido was king. Defeated by Grimoaldo,
he fled and now lies near the Huns.
May his soul find rest and his ashes peace.
Peace for my ashes? The tyranny of fortune!
So long as I live
I shall be fighting hardship and distress.

Where are you, my beloved?
Come and comfort my heart.

I am stricken with anguish
and only by your side
can my cruel sorrow be lightened
Reposted bySigalon0202mysoup-aa

March 20 2010

02mydafsoup-01
Play fullscreen
Georg Friedrich Händel (1685-1759)
Oboe Concerto No.1 in B flat, played on trumpet, HWV 301

1. Adagio
2. Allegro
3. Siciliano: Largo
4. Vivace

Maurice André, trumpet
Münchener Bach-Orchester
Karl Richter, conductor

rec ~ 1970
HD youtube permalink
Reposted by02mysoup-aa 02mysoup-aa

September 15 2009

April 03 2009

Play fullscreen
Elizabethan Music

John Dowland (1563-1626)

The First Book of Songs (1597)

XVII. "Come again"

Russell Oberlin - Countertenor

Joseph Iadone - Lute

rec ~ late 50ies

Text:

XVII
Come again, sweet love doth now invite.
Thy graces that refrain, to do me due delight.
To see, to hear, to touch, to kiss, to die,
with thee again in sweetest sympathy.

Come again, that I may cease to mourn.
Through thy unkind disdain, for now left and forlorn.
I sit, I sigh, I weep, I faint, I die,
in deadly pain and endless misery.

All the day, the sun that lends me shine,
By frowns do cause me pine, and feeds me with delay.
Her smiles, my springs, that makes, my joys, to grow,
her frowns the winters of my woe.

All the night, my sleeps are full of dreams,
My eyes are full of streams, my heart takes no delight.
To see, the fruits, and joys, that some, do find,
and mark the storms are me assigned.

Out alas, my faith is ever true.
Yet will she never rue, nor yield me any grace.
Her eyes, of fire, her heart, of flint, is made,
whom tears nor truth may once invade.

Gentle love, draw forth thy wounding dart.
Thou canst not pierce her heart, for I that do approve.
By sighs, and tears, more hot, than are, thy shafts,
did tempt while she for triumph laughs.


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