The XII Solos à Violon où Traversiere avec la basse chiffrée were published by Telemann in 1734. These 12 works conform to the church sonata pattern of four movements in slow-fast-slow-fast pattern. The works are carefully written so that either violin or flute could take the solo role in any of them. The movements are varied in Telemann’s usual mixture of French, Italian, and German styles, with the occasional Polish-inspired movement thrown in for good measure.
Clean version. 2 CD Set. 37 tracks. A nicely packaged collection of the band's greatest hits that commemorates their reunion and 2005 world tour. All the essentials are on disc one, which is generously crammed with choice cuts from the Aqua Net years - from the sleek glam rock of 'Too Fast For Love' and strip-club anthem 'Girls, Girls, Girls' to the runny mascara ballad 'Without You' and comedy hocus-pocus of 'Shout at the Devil'. Having just barely survived the '80s, the band gets inexplicably serious on the second disc, delving into 'Planet Boom' and 'Generation Swine'. But there's no reason to fret–the compilation is merely doing its job and succeeds brilliantly in tracing the rise and fall of a band whose legacy is turning out to be far greater than anyone ever imagined. Universal.
The name of Louis-Ferdinand Hérold will always be associated with one work, in England at least, and that is his ballet La Fille Mal Gardée. Who can forget the famous Clog Dance in Frederick Ashton’s production, although having watched a German production on VHS some years ago I remember being shocked by its omission. Even allowing for the popularity of this ballet, Le Pré Aux Clercs, commissioned and premiered by the Opéra-Comique in Paris, is regarded as his greatest success; this despite the lead soprano walking out after its premier production.
Charles Burney described Johann Adolf Hasse, his contemporary, as ‘the most natural, elegant and judicious composer of vocal music, as well as the most voluminous now alive…’ His output includes 63 operas, but only two are currently recorded, yet inexplicably this is the second Piramo, albeit markedly livelier and with the bonus of its two ballet suites. Schneider’s perceptive booklet note comments that too readily we find such composers immature – ‘almost like Mozart’, rather than excitingly expressive and individual. Here even the subtitle Intermezzo tragico is novel, implying a fusion of two traditions, comic and serious. The music is equally unconventional. Recitatives slip seamlessly into and out of arias, creating a strong sense of dramatic continuity. Colours are imaginative: flutes and bassoons paint a beautiful description of Piramo’s Utopia; natural horns roar rudely as the lion approaches – though he proves a rather likeable beast in his subsequent sinfonia. The performance is excellent. Monoyios, a gentle Tisbe, floats effortlessly in melting vocalises; Schlick’s Piramo contrasts, yet matches in their love duets; while Jochens, the domineering father, confirms in his remarkably jolly suicide aria that the final tragico stage, littered with the corpses of all three characters, is not to be taken too seriously.-George Pratt
Eros Walter Luciano Ramazzotti (born 28 October 1963) is an Italian musician and singer-songwriter. Ramazzotti is popular in Italy and most European countries, and throughout the Spanish-speaking world, as he has released most of his albums in both Italian and Spanish…
Found by chance in a Florence archive, Germanico may be the first work that Handel composed in Italy. An allegory on the War of the Spanish Succession, it is low on incident but long on suavity. Harpsichordist Ottaviano Tenerani has pieced together a putative provenance from the scant documentation of Handel’s movements before 1709. Venetian watermarks on the manuscript paper, and the flux of pro- and anti-Habsburg feeling in Italy at the time, suggest to Tenerani that Germanico was written for private performance in 1706 and is indeed, as the anonymous copyist wrote, ‘Del Sigr Hendl’. If the discovery of Germanico marks a career boost for Tenerani, he has repaid the favour in this stylishly executed performance by the ensemble Il Rossignolo.
Widely considered to be one of the best albums of the 90s, 1992’s Automatic For The People features R.E.M.’s iconic hit singles “Nightswimming,” “Man on the Moon” and “Everybody Hurts.” Includes a brand new remaster of the original album on CD 1, remastered from original analogue tapes by Stephen Marcussen under the direction of original Producer Scott Litt. CD 2 features live tracks recorded at the band’s 1992 show at The 40 Watt Club in Athens, the year of Automatic For The People’s original release. This was the only concert that R.E.M. performed that year. The highly sort-after & acclaimed recording is remixed from the original multi-tracks by John Keane.
Ernst Theodor Wilhelm Hoffmann (Königsberg , January 24, 1776 – Berlin, June 25, 1822), who changed his third name to Amadeus in honour to Mozart, is one of the best-known representatives of German Romanticism, and a pioneer of the fantasy genre, with a taste for the macabre. He was also a jurist, composer, music critic, draftsman and caricaturist.
As a musician, he composed about 80 works, including several operas, among them Aurora (1811-12), after Franz von Holbein, and Undine (1814), after Baron Friedrich de la Motte Fouqué's tale, one symphony, sacred and chamber music, as well as instrumental pieces.