Concerto For Viola

Vivaldi - Concerti per viola d'amore (Fabio Biondi) (2007)

Vivaldi - Concerti per viola d'amore (Fabio Biondi) (2007)
Classical | Eac. Flac, Img+Cue, Log | Covers | 499 MB
Label: Virgin | Catalog N.: 0946 3 95146 2 5 | TT: 77:13

The revival of the viola d'amore as an instrument distinct and separate from the viola is a well-established phenomenon, advanced by composers and performers alike at least since the 1920s. That doesn't mean, however, that there are a great many players of the viola d'amore around, nor are there nearly as many viola d'amores in existence to play, at least in a quantity relative to the number of violas that are out there. It is certainly an odd duck instrument; it has six or seven strings and a rank of sympathetic strings that vibrate along with the player, it puts out rich harmonics and has a mellow, somewhat nasal sound. Although it has earned a considerable number of nods from twentieth-century composers, its historical repertory is relatively small; Attilio Ariosti remains the all-time champion among Baroque composers for the viola d'amore, having written 21 sonatas for the instrument. Next in line is Antonio Vivaldi, with eight concertos and four arias with viola d'amore used in a concertante format. This Virgin Classics disc, Vivaldi: Concerto per Viola D'amore contains all of these concerti, of which the last is a double concerto for viola d'amore and lute, and these are performed by the group that probably constituted the state of the art in Vivaldi interpretation in 2007, Fabio Biondi's Europa Galante.
J.S. Bach – Sonatas for Viola and Piano BWV 1027-1029/Chorale preludes [2011] (PS3 SACD rip)

J.S. Bach – Sonatas for Viola and Piano BWV 1027-1029/Chorale preludes [2011] (PS3 SACD rip)
SACD ISO Image = 2.86 GB | Stereo FLAC = 875 MB | MCH FLAC = 2.42 GB | Scans PDF (800 dpi): 15 MB | 5% Recovery
Classical | Label: MDG | Catalog Number: MDG 903 1660-6 | DST 1bit-2822,4kHz 2.0, 5.1

Though the cello and especially the violin were the beneficiaries of numerous solo works by the pen of J.S. Bach, the instrument we know today simply as the viola (but in Bach’s time would have been the viola da braccio) was not fortunate enough to receive original, solo compositions. Instead, violists were bestowed with the lead role in the great Sixth Brandenburg Concerto. This MDG album headlines the Bach sonatas for viola and piano, this is a bit misleading.
Paul Hindemith: Sonatas for Viola/Piano & Viola Alone (1988)

Paul Hindemith - Sonatas for Viola/Piano & Viola Alone (1988)
Classical | EAC (APE & CUE) | 506 MB

Paul Hindemith is without question, one of the 20th century's most industrious composers. One of his most famous accomplishments is that he successfully completed a sonata for every major instrument in the orchestra. Hindemith began his career as a violinist amid the turmoil of WWI, and he wrote by far more literature for the viola than any other composer in history. He had an early success becoming concertmaster of the Frankfort Opera Orchestra at the young age of 19. He later turned to viola in 1919, and it was to remain his favorite instrument for the rest of his life. Hindemith was the violist of the Amar Quartet, founded in 1921 for the premiere of the Second String Quartet. He later became known as a soloist in Europe, premiering his own viola works as well as the Milhaud Concerto No. 1 and the Walton Viola Concerto. When the Nazis expelled him from his post at the conservatory in Berlin and deprived him of his German audience due to his Jewish ties and the soprano-in-the-bathtub scene in the opera Neues vom Tage (News of the Day), which apparently shocked Hitler, Hindemith moved to Switzerland and made concert tours to the USA before emigrating there in early 1940.
Paul Hindemith: Sonatas for Viola/Piano & Viola Alone (1988)

Paul Hindemith: Sonatas for Viola/Piano & Viola Alone
Classical | EAC (APE & CUE) | ECM (1988) | 2 CD / 7 parts / 506 MB

Paul Hindemith is without question, one of the 20th century's most industrious composers. One of his most famous accomplishments is that he successfully completed a sonata for every major instrument in the orchestra. Hindemith began his career as a violinist amid the turmoil of WWI, and he wrote by far more literature for the viola than any other composer in history. He had an early success becoming concertmaster of the Frankfort Opera Orchestra at the young age of 19. He later turned to viola in 1919, and it was to remain his favorite instrument for the rest of his life. Hindemith was the violist of the Amar Quartet, founded in 1921 for the premiere of the Second String Quartet. He later became known as a soloist in Europe, premiering his own viola works as well as the Milhaud Concerto No. 1 and the Walton Viola Concerto. When the Nazis expelled him from his post at the conservatory in Berlin and deprived him of his German audience due to his Jewish ties and the soprano-in-the-bathtub scene in the opera Neues vom Tage (News of the Day), which apparently shocked Hitler, Hindemith moved to Switzerland and made concert tours to the USA before emigrating there in early 1940.
Gary Graffman & Minnesota Orchestra - Skrowaczewski: Concerto Nicolo, Concerto for Orchestra (2004)

Gary Graffman & Minnesota Orchestra - Skrowaczewski: Concerto Nicolo, Concerto for Orchestra (2004)
Classical Music | MP3 320 kbps CBR | Artworks | 58 min | 192 MB
Label: Reference Recordings | Rel:2004

Gary Graffman is one of America's most outstanding pianists. Concerto Nicolo was written for Graffman, and this is its premiere recording. It brings Graffman, who has appeared with all the major orchestras and conductors, back to the international recording stage! Stanislaw Skrowaczewski is the Minnesota Orchestra's Conductor Laureate, and a composer of international renown. His Concerto for Orchestra was commissioned and premiered by the Minnesota Orchestra. Its revised edition (recorded here) received a Pulitzer Prize nomination. Audiophiles will be thrilled by the Concerto for Orchestra's dynamics and brilliant instrumentation, perfectly suited for "Prof." Johnson's deomnstration-quality HDCD sonics.
Marie Hallynck And Dirk Brosse - Cello Concerto for Isabelle (2016)

Marie Hallynck And Dirk Brosse - Cello Concerto for Isabelle (2016)
Classical | MP3 CBR 320 kbps | 00:54:01 | 124 MB
Label: Warner Classic | Release Year: 2016

Cello Concerto for Isabelle is the result of a collaboration between composer-conductor Dirk Brosse, the London Symphonic Orchestra led by Min the maestro and cellist Marie Hallynck. The CD is presented to an invited audience on November 23 in the Miry Concert Hall in the Conservatory of Ghent.

Paul Coletti, Leslie Howard - English Music for Viola (2001)  Music

Posted by tirexiss at Nov. 8, 2016
Paul Coletti, Leslie Howard - English Music for Viola (2001)

Paul Coletti, Leslie Howard - English Music for Viola (2001)
EAC | FLAC (image+.cue, log) | Covers + Digital booklet | 66:51 | 264 MB
Genre: Classical | Label: Hyperion | Catalog: CDH55085

This CD was initially recorded in 1993 and was reissued in 2001. That is fortunate for those of us who missed it the first time around, for Paul Coletti has produced one of the finest recorded examples of viola playing to be found. Coupled with the sensitive and thoughtful piano playing of Leslie Howard, this makes for benchmark renditions of these musical gems. Hyperion's sound is gorgeous and perfectly balanced throughout. The listener is drawn into the music making, with all its expressive and tonal nuances.
J.S. Bach Concerto for Violin and Oboe in C minor BWV 1060 (Kremer, Holliger) (2008)

J.S. Bach Concerto for Violin and Oboe in C minor BWV 1060 (Kremer, Holliger) (2008)
EAC Rip | FLAC, IMG+CUE, LOG | HQ Full Scan | 42:57 | 228 MB
Genre: Classical | Label: Philips

Rebecca Clarke - Works for Viola (2016)  Music

Posted by tomashass at June 22, 2016
Rebecca Clarke - Works for Viola (2016)

Rebecca Clarke - Works for Viola (2016)
MP3 320 kbps CBR | 01:08:08 | MB
Genre: Classical | Label: Aevea

"The extraordinary, emotional impact of the Duo Rùnya recording seems to come from a single musical soul, always profoundly alive, and able to create emotionally exalted states". - Carlo Guaitoli, pianist and pedagogue. Rebecca Clarke (1886 - 1979) was an English classical composer and violist best known for her chamber music featuring the viola. The impressionism of Debussy is often mentioned in connection with Clarke's work, particularly its lush textures and modernistic harmonies. The Viola Sonata (published in the same year as the Bloch and the Hindemith Viola Sonata) is an example of this, with its pentatonic opening theme, thick harmonies, emotionally intense nature, and dense, rhythmically complex texture. Morpheus, composed a year earlier, was her first expansive work, after over a decade of songs and miniatures. The "Passacaglia on an Old English Tune" is modal in flavor, mainly in the Dorian mode but venturing into the seldom-heard Phrygian.
Hamburger Ratsmusik, Simone Eckert - "Felix Austria": Works for Viola da Gamba Consort (2010)

Hamburger Ratsmusik, Simone Eckert - "Felix Austria": Works for Viola da Gamba Consort (2010)
EAC | FLAC | Image (Cue&Log) ~ 314 Mb (incl 5%) | Mp3 (CBR320) ~ 171 Mb (incl 5%) | Scans included
Genre: Classical | Label: cpo | # cpo777451-2 | Time: 01:06:00

Over the years I have heard many recordings of music written for the Imperial court in Vienna. That’s no wonder: Vienna was a centre of music-making in Europe. During the 17th and 18th centuries some of the best musicians and composers were in the service of the Habsburg emperors. Most of the recordings concentrate on music for violins or voice. This disc is different in that it presents music for viol consort. That’s all the more interesting, as it is often thought that in the 17th century consort music was only written in France and England. It is quite surprising that this kind of music was also written in Austria. Most musicians in the service of the Imperial court were from Italy, where the viol consort had gone out of fashion since the first quarter of the 17th century. The fact that Italian composers wrote music for viol consort was due to the personal preferences of the emperors, Ferdinand III and Leopold I, who also wrote some music for this kind of ensemble themselves.