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September 23 2014

January 21 2014

in memoriam Claudio Abbado (80)

Giuseppe Verdi Messa di Requiem (yt-video)
Claudio Abbado conducts Orchestra RAI, Roma 1970
Singers : Renata Scotto, Marilyn Horne, Luciano Pavarotti, Nicolaj Ghiaurov
Requiem 2:50
Kyrie Eleison 8:01
Dies Irae 11:47
Tuba Mirum, Mors Stupebit, Liber Scriptus, Quid sum Miser 14:01
Rex Tremendae, Recordare, Ingemisco 26:21
Confutatis 37:49
Lacrymosa 43:30

via -  siehe dort weitere verlinkte  deutschsprachige Artikel zum Tod des italienischen Dirigenten.
Reposted bycheg00 cheg00

February 26 2013

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Art Blakey & The Jazz Messengers - Live Italy, Sanremo 23-03-1963 - YouTube


// Music starts at 4.30 min
Reposted byhexxe hexxe

February 11 2013

January 23 2013

January 01 2013

in memoriam Mihaela Ursuleasa (* 27th September 1978 in Brașov/Kronstadt Romania / Rumänien; † 2nd August 2012 in Vienna/Wien, Austria/ Österreich,  romanian pianist / rumänische Pianistin


Franz Schubert 1797-1828  
Trout Quintett / Forellenquintett D. 667

Julian Rachlin,
Mischa Maisky,
Nobuko Imai,
Stacey Watton

Mihaela Ursuleasa

 more about and with her:

December 31 2012

Music of Epirus (Greek side - recorded in the 1970s)

In memoriam Δόμνα Σαμίου -
Domna Samiou 1928-2012 - Music of Epirus - Τραγούδι της Ηπείρου (recorded in 1977 mainly in Παρακάλαμος / Parakalamos)


About the Epirus (Greece & Albania)

About Iso Polyphony (Southern Albania - also on the Greek side in use - three languages in which it is sung: Albanian, Greek, Vlach)

December 27 2012

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Es hat sich halt eröffnet, das himmlische Tor ( Now as has been opened the heavenly gate) - YouTube - Tiroler Weihnachtslied - Tyrolian Christmas Song ( no English translation available - lyrics in Tyrolian [Austria and Northern Italy] dialect - belongs to the German-Bavarian dialect group )



Es hat sich halt eröffnet, das himmlische Tor
die Engelein, die kugalan ganz haufenweis hervor
die Bubalan, die Madalan, die mach'n Purzigagalan
bald aufi bald abi, bald hin und bald her
bald unterschi bald überschi, das freut sie umso mehr
Halleluja, halleluja, alle, alle, alleluja

Jetzt håb ma hålt dås himmlische Gwammel erblickt
es håt uns Gott Våter an Botn zuagschickt
Wir sollten uns vereinen zum Kindlein auf die Roas
verlåssn unsre Öchslan, die Kälber und die Goaß
verlåssn unsre Öchslan, die Kälber und die Goaß

Åft sein mir nåcher gången, i und du a,
kerzengråd nåch Bethlehem, juchheißa, hopsassa.
Seppele, du Schlanggele, nimm du dei gmöstes Lampele,
und Michl, du a Henn, und Jost, du an Håhn,
und i nimm mei foasts Fakkele und renn damit davon

Geh, Veitl, mir wöllen die Gscheitern hålt sein
Wir betn 's Kindlan ån im Ochsenkrippelein
Büabale, wås mågst denn håbn, mågst eppa dechta unsre Gåbn?
Mågst Äpfl oder Birn, oder Nussn oder Kas
willst Zwötschgen oder Pflaumen oder sist a sölles Gfraß?


Text und Musik: Die erste Strophe dieses Liedes zeichnete Karl Liebleitner (1858–1942) im Jahre 1898 vom Druckereibesitzer Hans Mößmer in Wien auf. Erstmals veröffentlicht wurde es von Franz Friedrich Kohl und Josef Reiter in der Sammlung Echte Tiroler Lieder, Bd. 1, Leipzig 1913, S. 1. Die weitere Strophen finden sich u.a. in Alpenrose (1924, dort als Volkslied aus Tirol )

December 21 2012


J.S. Bach, Wachet auf, ruft uns die Stimme, BWV 140

1. Coro: Wachet auf, ruft uns die Stimme (Wake up, the voice calls to us)
2. Recitativo (tenor): Er kommt (He comes)
3. Aria (soprano, bass): Wann kommst du, mein Heil? (When will you come, my salvation?)
4. Chorale (tenor): Zion hört die Wächter singen (Zion hears the watchmen singing)
5. Recitativo: So geh herein zu mir (So come in with me)
6. Aria (soprano, bass): Mein Freund ist mein! (My friend is mine!)
7. Chorale: Gloria sei dir gesungen (May Gloria be sung to you)

(oAnth: recorded probably in the early 1970s)

Elly Ameling Soprano
Aldo Baldin Tenor
Samuel Ramey Bass

London Voices
English Chamber Orchestra
Raymond Leppard Conductor

cf.: the opening chorus in an excellent more recent interpretation

From another complete recording with displayed score, here

Boy Soprano: Alan Bergius
Tenor: Kurt Equiluz
Bass: Thomas Hampson
Chorus master: Gerhard Schmidt-Gaden
Tölzer Knabenchor
Conductor: Nikolaus Harnoncourt
Concentus musicus Wien

More information, texts, and translations are available at this site:

A church cantata by German composer Johann Sebastian Bach (1685-1750), with the cantata chorale based on the Lutheran hymn "Wachet auf, ruft uns die Stimme" ("Sleepers awake, the voice is calling") by Philipp Nicolai. The text is based on the Parable of the Ten Virgins in Matthew 25:1-13, the reading of which is scheduled for the 27th Sunday after Trinity in the Lutheran lectionary. This cantata was first performed in Leipzig on November 25, 1731. Bach later transcribed the fourth movement chorale for organ (BWV 645) and published it along with the Schübler Chorales.

English text:

I. (Chorus)

Wake ye maids! hard, strikes the hour,
The watchman calls high on the tower,
Awake, awake, Jerusalem.
Midnight strikes, hear, hear it sounding,
Loud cries the watch, with call resounding:
Where are ye, o wise virgins, where?
Good cheer, the Bridegroom come,
Arise and take your lamps!
Ye maids beware:
The feast prepare,
So go ye forth to meet Him there.

II. Recitative:

He comes.
The Bridegroom comes!
And Zion's daughter shall rejoice,
He hastens to her dwelling claiming
The maiden of his choice.
The Bridegroom comes; as is a roebuck,
Yea, like a lusty mountain roebuck,
Fleet and fair,
His marriage feast he bids you share.
Arise and take your lamps!
In eagerness to greet him;
Come! hasten, sally forth to meet him.

III. Aria (Duet)

[Soul] Come quickly, now come.
[Jesus] Yea quickly I come.
[Soul] We wait thee with lamps all alighted!
The doors open wide,
Come claim me my bride!
[Jesus] The doors open wide,
I claim me my bride.
[Soul] Come quickly!
[Jesus] Forever in rapture united

IV. Chorale

Zion hears the watchmen calling,
The Faithful hark with joy enthralling,
They rise and haste to greet their Lord.
See, He comes, the Lord victorious,
Almighty, noble, true and glorious,
In Heav'n supreme, on earth adored.
Come now, Thou Holy One,
The Lord Jehovah's Son!
We follow all
The joyful call
To join Him in the Banquet Hall!

V. Recitative

So come thou unto me,
My fair and chosen bride,
Thou whom I long to see
Forever by my side.
Within my heart of hearts
Art thou secure by ties that naught can sever,
Where I may cherish thee forever.
Forget, beloved, ev'ry care,
Away with pain and grief and sadness,
For better or for worse to share
Our lives in love and joy and gladness.

VI. Aria (Duet)

[Soul] Thy love is mine,
[Jesus] And I am thine!
[Both] True lovers ne'er are parted.
[Soul] Now I with thee, and thou with me.
[Jesus] In flow'ry field will wander,
[Both] In rapture united forever to be.

VII. Chorale

Gloria sing all our voices,
With Angels all mankind rejoices,
With harp and strings in sweetest tone.
Twelve bright Pearls adorn Thy Portals,
As Angels round Thy glorious Throne.
No ear has ever heard
The joy we know.
Our praises flow,
Eeo, eeo,
To God in dulci jubilo.

Text of the Parable of the Ten Virgins:

Matthew 25:1-13 (WEB)

'Then the Kingdom of Heaven will be like ten virgins, who took their lamps, and went out to meet the bridegroom. Five of them were foolish, and five were wise. Those who were foolish, when they took their lamps, took no oil with them, but the wise took oil in their vessels with their lamps. Now while the bridegroom delayed, they all slumbered and slept. But at midnight there was a cry, "Behold! The bridegroom is coming! Come out to meet him!" Then all those virgins arose, and trimmed their lamps. The foolish said to the wise, "Give us some of your oil, for our lamps are going out." But the wise answered, saying, "What if there isn't enough for us and you? You go rather to those who sell, and buy for yourselves." While they went away to buy, the bridegroom came, and those who were ready went in with him to the marriage feast, and the door was shut. Afterward the other virgins also came, saying, "Lord, Lord, open to us." But he answered, "Most certainly I tell you, I don't know you." Watch therefore, for you don't know the day nor the hour in which the Son of Man is coming.'

December 17 2012


November 30 2012

Play fullscreen
Arabella Steinbacher - Beethoven Violin Concerto D-major op. 61 - recorded 2009-12-20 - YouTube

  1. Allegro ma non troppo (D major)
  2. Larghetto (G major)
  3. Rondo. Allegro (D major)

Hochgeladen von ConcertosLive am 17.12.2011


November 23 2012


Georg Friedrich Händel (1685-1759)

Neun deutsche Arien - Nine German Arias

Lyrics from: Barthold Heinrich Brockes (1680-1747)

Lyrics in German and English: see pdf at pp 16-17 or via links given in the song index at the  bottom.


Handel's "nine German arias" (he wrote other arias in German, but this is a discrete group) were written in the mid-1720s, long after the composer left his native Germany for Italy and then booming Great Britain. It is not known why he should have written music in German at that late date, and the pieces have a quietly contented tone that sets them somewhat apart from almost everything else in Handel's oeuvre. The texts are by Hamburg poet Barthold Heinrich Brockes, whose so-called Brockes-Passion had already been set by Handel a decade earlier. They are religious but not exactly sacred -- spiritual in a personal way, perhaps, with a good deal of nature imagery that is only lightly reflected in the music. Instead Handel sticks to the da capo aria pattern, forging a gentle language for the soprano soloist that evokes the outlines of the Italian operatic aria but tones the whole thing down to chamber dimensions.


cited from

*Neun deutsche Arien (Nine German arias)

St. Cecilia's Day - 22nd of November
- Catholic Encyclopedia
- Wikipedia

November 18 2012

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Heinrich Schütz. Musikalische Exequien - YouTube

Veröffentlicht am 29.03.2012 von Alberto Sosa

Heinrich Schütz. Musikalische Exequien op. 7, SWV 279 - 281

1.- Concierto en forma de misa de funeral alemán
2.- Motete: Herr, wenn ich nur Dich habe
3.- Canticum Simeonis: Herr, nun lässest Du Deinen Diener

La Chapelle Royale
Philippe Herreweghe

November 17 2012

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Published on 14 Nov 2012 by Wolfgang Amadé Mozart

Franz Liszt - 14 Schubert Lieder - YouTube

Oxana Yablonskaya, piano
Franz Liszt - 14 Schubert Lieder
Schubert - 12 Lieder, S558/R243: No. 2. Auf dem Wasser zu singen 00:04:59
Schubert - Winterreise, S561/R246: No. 6. Wasserflut 00:02:30
Schubert - Mullerlieder, S565/R249: No. 2. Der Muller under der Bach 00:07:10
Schubert - Schwanengesang, S560/R245: No. 8. Ihr Bild 00:02:34
Schubert - Schwanengesang, S560/R245: No. 7. Standchen (Leise flehen meine Lieder) 00:07:06
Schubert - 12 Lieder, S558/R243: No. 9. Standchen (Horch, horch! Der Lerch') 00:02:47
Schubert - 12 Lieder, S558/R243: No. 1. Sei mir gegrusset 00:06:06
Schubert - 6 Melodies, S563/R248: No. 4. Trockne Blumen 00:04:15
Schubert - 12 Lieder, S558/R243: No. 7: Fruhlingsglaube 00:05:00
Schubert - 12 Lieder, S558/R243: No. 3. Du bist die Ruh 00:06:08
Schubert - Schwanengesang, S560/R245: No. 12. Der Doppelganger 00:04:41
Schubert - 12 Lieder, S558/R243: No. 8: Gretchen am Spinnrade 00:04:28
Schubert - 12 Lieder, S558/R243: No. 11. Der Wanderer 00:07:16
Schubert - Schwanengesang, S560/R245: No. 3. Aufenthalt 00:03:51

November 15 2012

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Hochgeladen von Unai Urigoiti-Irizabalbarrena am 21.10.2011

Canciones, con acompañamiento de conjunto de violas da gamba, de William Byrd, interpretadas por la soprano inglesa Emma Kirkby y el consort de violas Fretwork.

November 08 2012

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Mozart - Piano Concerto No. 23 in A, K. 488 [complete] - YouTube

Uploaded by Am4d3usM0z4rt on Dec 25, 2011

//... The Piano Concerto No. 23 in A major (K. 488) is a musical composition for piano and orchestra written by Wolfgang Amadeus Mozart. It was finished, according to Mozart's own catalogue, on March 2, 1786, around the time of the premiere of his opera, The Marriage of Figaro. It was one of three subscription concerts given that spring and was probably played by Mozart himself at one of these. The concerto is scored for piano solo and an orchestra consisting of one flute, two clarinets, two bassoons, two horns and strings. In Mozart's later works the wind instruments are equal to the stringed instruments, and this is also the case in this concerto. It has three movements:
1. Allegro in A major and common time.
2. Adagio in F-sharp minor and 6/8 time (in later editions, the tempo is listed as Andante).
3. Allegro assai in A and alla breve (in later editions, the tempo is listed as Presto). In Rondo form.
The first movement is mostly sunny and positive with the occasional melancholic touches typical of Mozart pieces in A major and is in sonata form. The piece begins with a double exposition, the first played by the orchestra, and the second when the piano joins in. The first exposition is static from a tonal point of view and is quite concise, the third theme is not yet revealed. The second exposition includes the soloist and is modulatory. It is also includes the third previously unheard third theme. The second exposition is ornamented as opposed to the first exposition which is not. The second theme has harmonic tension. This is expressed by dissonances that are played on the beat, and then solved by an interval of a second going downwards. This is also expressed in the use of chromatics in the melody and bass lines which is a cause for harmonic tension, as the listeners anticipate the arrival of the tonic.
The second, slow movement, in ternary form, is melancholic and somewhat operatic in tone. The piano begins alone with a theme characterized by unusually wide leaps. This is the only movement by Mozart in F sharp minor. The dynamics are soft throughout most of the piece. The middle of the movement contains a brighter section in A major announced by flute and clarinet that Mozart would later use to introduce the trio "Ah! taci ingiusto core!" in his opera Don Giovanni. The third movement is a vigorous and cheerful rondo, shaded by moves into other keys as is the opening movement (to C major from E minor and back during the secondary theme in this case, for instance) and with a central section whose opening in F sharp minor is interrupted by a clarinet tune in D major, an intrusion that reminds us, notes Girdlestone, that instrumental music at the time was informed by opera buffa and its sudden changes of point of view as well as of scene.
FREE .mp3 and .wav files of all Mozart's music at:
FREE sheet music scores of any Mozart piece at:
ALSO check out these cool sites:
and ... //


Performers probably:

Sir Neville Marriner and Academy of St, Martin in the Fields with Alfred Brendel (recorded in the early 1970s)

August 27 2012


How we made: Peter Sellars and William Christie on Theodora

The team behind Glyndebourne's landmark production of Handel's oratorio recall an emotional high

Peter Sellars, director

I had heard Lorraine Hunt singing Theodora in a concert performance, and was overwhelmed by the drama and sheer beauty of Handel's music. The story is basic tabloid fare, and Handel treats it almost entirely as interior drama. [An oratorio in three acts, it concerns the Christian martyrdom of Theodora and her Roman lover Didymus.] When Glyndebourne asked me where they should begin with staging Handel, it was easy. At that time, people didn't quite know what Theodora was: we were in a secret cathedral, discovering a masterpiece the world did not know.

The staging flowed in an extremely organic way. Visionary works such as this wait for another era in which they are allowed to speak in their own language and not have to ventriloquise the conventional wisdom of the day. A lot of it was done as in medieval or byzantine art – as simply as possible: the emotional and spiritual aura of each character was what we were concerned with.

The work is a soundtrack for two people leaving this world that is as chilling as anything Handel ever wrote. A lot of opera focuses on execution. It's a huge question: when we take people's lives as a society; when and how we justify killing. In the US, execution had been illegal for a period and then [in 1976] the Supreme Court decision turned it around. It was decided that lethal injection was "humane", but it was hidden away. I thought it was important to see what the process was. We investigated and were incredibly literal, down to the timing.

The effect was profound. During most performances, people had to be carried from the auditorium; there were emergency medical services standing by. I am not proud of putting people into an emergency medical van, of course, but I do think that's why the Greeks invented theatre: to put these things in front of citizens and say, how do we feel about them?

There was an incredible rehearsal where we ran the first act for the first time in the darkened theatre, and the piece just rose up, like some majestic host and said, "I'm here." We were weeping, holding each other, truly overwhelmed. The production remains a high point of all our lives.

William Christie, conductor

Glyndebourne's general manager had asked if there was a Handel piece I would like to do. They had never staged anything of his there before. I wanted an oratorio, something that would use Glyndebourne's chorus, rather than an opera – and Theodora had stuck in my mind as incredibly moving. He said: "That's curious, the fellow we've asked to direct said the exact same thing!"

I had not met Peter before although of course I knew of him: he's a fellow of great notoriety, in the best sense of the word. You knew that he wasn't going to give you anything other than a controversial, or at least a very personal, sense of the drama. The fact that this Christian woman and her converted lover find themselves on a gurney in a Texas military hospital awaiting execution was incredibly shocking, but I found it horribly moving. We were talking about martyrdom, a word that's existed as long as humans have. Peter was hellbent on making a political statement, registering his dismay and revulsion about aspects of America, but also making music that was written several hundreds of years ago more relevant.

The starting point of any successful lyric piece is giving the singers a long leash. I gave space to them as well as to the music. We had so many happy moments in the casting. I wanted desperately to have Lorraine Hunt: the role of [Theodora's friend] Irene is strong and forthright, as Lorraine was as a singer and a human being. Richard Croft [as Didymus's friend Septimus] was also someone I particularly wanted; there is great honesty in the way he sings.

It's an incredibly emotional piece. We were all caught up in it. I remember Lorraine not being able to mark in rehearsals [sing in a way that rested her voice]. She'd be singing full voice at 11am.

• A DVD of the production is available from © 2012 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds


// oAnth - a yt-playlist with a chronological  sequence of excerpts taken from  Peter Sellars' production of Händel's Theodora (demanding!) is available on here.

July 18 2012

"Die Griechen ?" - "Die Berliner!"

... wozu Pigor / Eichhorn bereits 2009 weitsichtig Stellung nahmen.

April 07 2012

Georg Friedrich Händel (1685-1759)


Excerpts from the Sacred Oratorio Theodora

Orchestra of the Age of Enlightenment
Conductor: William CHRISTIE
Director: Peter SELLARS
Singers / soloists: Frode OLSEN, David DANIELS, Richard CROFT, Dawn UPSHAW, Lorraine HUNT LIEBERSON;

Production for GLYNDEBOURNE 1996 

complete libretto

March 31 2012

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Friedrich Gulda & Herbie Hancock - All Blues (Miles Davis)

YouTube permalink

Hochgeladen von Neidhardt84 am 21.05.2009

Salzburger Festspiele, 1989.

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