A long time ago, back in the 1970s, period instrument performances mostly sounded sweet and low down. Part of the reason for this was the catgut strings and the lower tuning, and part of the reason was that players seemed to prefer a mellower and rounder tone. But time passed and period instrument performances became more and more strident until they became nearly painful to listen to by the late '80s. Violinist Rachel Podger has recaptured the mellow sounds of yesterday by producing a warm and almost human sound with her 1739 Persarinius instrument.
For the first time ever, the complete recordings of Vicente Amigo, together in a 6 CD + 1 DVD box set, available only as limited edition. Limited special new pack with all the work of this brilliant guitarist. Since he came out his first album in 1991, VICENTE AMIGO is considered as one of the biggest artist of the flamenca guitar and his carreer is punctuated of gratitudes: Grammy Latino of the best flamenco disc in 2001; best flamenco guitarist for the magazine Guitar Player in 1993; two music awards in 1998 and 1999; a Ondas Prize in 2002… just to name some of them.
Tartini was born in Piran, a town on the peninsula of Istria, in the Republic of Venice (now in Slovenia) to Gianantonio - native of Florence - and Caterina Zangrando, a descendant of one of the oldest aristocratic Piranian families.
At first glance, this looks like the concluding volume of a complete recording of Vivaldi’s Op. 1. But, as Michael Talbot points out in a characteristically interesting and informative note, the stronger works are concentrated within the second half of the set. Among them is the best known of the Trios from the collection, the 20 variations on the theme of Spanish origin, La follia. – Nicholas Anderson, Gramophone [5/1998].
In the disc's liner notes we're urged to judge Vivaldi's place "in the pantheon of great baroque composers" on the "stand-alone quality of his music" and not on errant or offhand claims of this or that musicologist. Well, owing to violinist Rachel Podger's stunning, fiercely energetic, ardently expressive, and technically assured performances and the ravishing orchestral support from the Polish period-instrument ensemble Arte Dei Suonatori, our task as listeners certainly is an easy and prodigiously enjoyable one. And that's not all the good news: this is truly one of those sonic "events" where the performers have an almost palpable presence, their sound is absolutely faithful and natural, and the balances are right on. Go ahead and turn this one up–you'll be immediately bathed in glorious, vibrant string sound, and be pleasantly surprised by the potential of Vivaldi's music to actually hold your undivided attention for an hour–maybe more.
In France, during the reign of Louis XIV, the religious service known as Tenebrae was one of the most distinctive ceremonies in the liturgical year. Gradually, in the course of the office, the candles were extinguished, recalling the darkness that covered the earth when Jesus died on the cross. Charpentier composed Tenebrae settings throughout his career, thirty-one lessons in all. The three presented here, written for the Wednesday, Thursday and Friday of Holy Week, are scored for a solo bass voice, accompanied by an orchestra composed of recorders, oboes, strings, bassoon and organ.
Após 4 anos de apresentações lotadas por todo o país, Rafinha Bastos lança o DVD de seu primeiro show solo de stand-up comedy: A Arte do Insulto.