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.
There's very little doubt that the Gipsy Kings are good at what they do–they've become the brand name in Sevillana, the pop-oriented flamenco style. Since 1989, when the single "Bamboleo" and their Gipsy Kings album broke through and went gold in the United States, they've found a willing audience in America for their style, which, while flashy, doesn't demand a great deal of the listener, unlike more hardcore versions of flamenco. This double set collects 38 of their biggest tracks, including a version of the Eagles' "Hotel California," into one package guaranteed to satisfy fans of their precise, jubilant playing. And there's no denying they have the power to move people with their singing and fretwork, making this a must for those who want to experience all the familiar material in one sitting. Like the band themselves, the record is an unqualified success as a greatest hits package.
Abbado's Verdi recordings are some of the finest available and this Requiem recording is no expection. Abbado takes a less ferocious approach than say Muti, or Barenboim, balancing the dramatic moments effectively against the more introspective aspects of the score. Ricciarelli is in fine form here, singing with a fine sense of line and intense emotional declamation. Her intonation is perfect. Verrett blends seamlessly with Ricciarelli, making the most of their duet and capturing the intense sadness of much of the writing quite well. Domingo, in his first recording of the part, provides a steady stream of golden tone, effortlessly produced. His emotional temperature runs about right here - not overly dramatic - after all, this is not Aida - but strong feelings kept on a tight rein. Ghiaurov is phenomenal. His gigantic bass somehow anchoring the entire quartet and chorus into an imposing yet gorgeous Verdian soundscape. There are many excellent Verdi Requiem recordings - this is surely one of the very best.
Coinciding with the 500th anniversary of the birth of Saint Francis Borgia, Fourth Duke of Gandia, Jordi Savall and Alia Vox offer a visually lavish and artistically comprehensive new release entitled Dinastia Borgia. Savall’s latest musicological/historical quest focuses on music from the time of the Borgia dynasty, including works by composers such as Isaac, Dufay and Morales, from Pope Alexander VI/6 and two of his children, Cesare and Lucrezia, through to Francis Borgia, Jesuit priest and, perhaps, composer. For five centuries, scholars have studied and debated the role of the Borgias in Renaissance history. Although their name is synonymous with Papal corruption and they were undoubtedly malevolent and immoral, as patrons of the arts, the Borgias were also instrumental in the period’s explosive growth of culture.
Composed for Venice in 1837, just a year-and-a-half after the fantastic success of Lucia di Lammermoor, Pia de' Tolomei "pleased altogether", in the composer's words. He revised it a couple of times thereafter and it was shown at various theaters as distant as Malta until 1855, after which it disappeared. It takes place in 13th-century Siena: Pia is married to Nello; his cousin Ghino loves her but she refuses his advances. Ghino angrily accuses Pia of adultery with an unknown man, who turns out to be Pia's brother, Rodrigo, and Nello imprisons her. Ghino eventually feels remorse and confesses his deception, but not soon enough to save Pia from being poisoned by Nello.
Carl Philipp Emanuel Bachs interest in the organ would seem to be fairly limited, at least judging by the number of pieces he composed for the instrument. The reasons for this attitude could be personal and professional, but could also reflect the changing affections and the new sensibility of the period, since during his lifetime the organ underwent a phase of relative decline. Indeed, following the acme reached by Johann Sebastian Bach, the instrument sank into a phase of neglect in Germany during the second half of the 1700s.