1830

1. Casino

2. Mayoral

3. Gato

4. Carnavalera

5. Candela

6. Cabritas

7. Camello (Le Chameau)

8. Tu Piel

9. Mareao

10. Futboleros

11. Atacando

12. Ilegal

1830,Havana Delirio,Polygram Records,Latin,Latin Music,Tropical

The Women's Philharmonic: Fanny Mendelssohn: Overture (c. 1830) / C. Schumann: Piano Concerto in A Minor, Op. 7 / G. Tailleferre: Concertino for Harp and Orchestra (1927) / Boulanger: D'un Soir Triste (1918); D'un Matin de Printemps (1918)

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The Women's Philharmonic: Fanny Mendelssohn: Overture (c. 1830) / C. Schumann: Piano Concerto in A Minor, Op. 7 / G. Tailleferre: Concertino for Harp and Orchestra (1927) / Boulanger: D'un Soir Triste (1918); D'un Matin de Printemps (1918)

Manufacturer: Koch Int'l Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Women of Note ~ Beach, Boulanger, Clarke, Gubaidulina, Larsen, Mendelssohn, Monk, Musgrave, Ran, Zwilich

ASIN: B000001SFS
Release Date: 1993-02-22

Tracks:

Ouverture - Women's Philharmonic/JoAnn Falletta
Pno Con in a, Op. 7: Allegro maestoso - Angela Cheng
Pno Con in a, Op. 7: Romanze - Angela Cheng/Nina Flyer
Pno Con in a, Op. 7: Finale - Angela Cheng
Concertino For Hp & Orch: Allegretto - GILLIAN BENET
Concertino For Hp & Orch: Lento - GILLIAN BENET
Concertino For Hp & Orch: Rondo - GILLIAN BENET
D'un Soir Triste - Women's Philharmonic/JoAnn Falletta
D'un Matin De Printemps - Women's Philharmonic/JoAnn Falletta

While Shepherds Watched - Christmas Music from English Parish Churches 1740-1830 /Psalmody * Parley of Instruments * Holman

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While Shepherds Watched - Christmas Music from English Parish Churches 1740-1830 /Psalmody * Parley of Instruments * Holman

Manufacturer: Hyperion
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Holiday Music | Compilations | Miscellaneous | Styles | Music

General Christmas | Holiday | Miscellaneous | Styles | Music

Opera & Vocal | Holiday | Miscellaneous | Styles | Music

Classical | Imports | Stores | Music

General Christmas | Holiday Music | Special Features | Music

Opera & Vocal | Holiday Music | Special Features | Music
ASIN: B000002ZYY
Release Date: 1996-11-08

Tracks:

While Sheperds Watched Their Flocks By Night
Let An Anthem Of Praise
While Sheperds Watched Their Flocks By Night
Pastorale (Concerto In E Flat, Op. 3/4)
Hark! How All The Welkin Rings
Hush! My Dear, Lie Still And Slumber
As Sheperds Watched Their Fleecy Care
Hark! The Herald Angels Sing
While Sheperds Watched Their Flocks By Night
Hark! The Herald Angels Sing (Georgia)
There Were Sheperds Abibing In The Field
Rondo On 'God rest you merry gentlemen'
Angel From The Realm Of Glory
Hymning Seraphs Wake The Morning
While Sheperds Watched Their Flocks By Night

Sounds of Splendor (Played on the 1830 Appleton Organ by Martin Souter)

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Plain old timid organ music

Sounds of Splendor (Played on the 1830 Appleton Organ by Martin Souter)
Martin Souter , C.P.E. Bach , Mozart , Stanley , Souter , and Handel
Manufacturer: Isis
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B00000BKF8
Release Date: 1998-10-13

Tracks:

Con in B flat Op.4/6: Andante Allegro
Con in B flat Op.4/6: Larghetto
Con in B flat Op.4/6: Allegro Moderato
Son in B flat H.134: Allegro
Son in B flat H.134: Arioso
Son in B flat H.134: Allegro
The Celebrated Water Musick: Ov In The Water Musick
The Celebrated Water Musick: Adagio E Staccato
The Celebrated Water Musick: Allegro
The Celebrated Water Musick: (Presto)
The Celebrated Water Musick: Aire
The Celebrated Water Musick: Minuet
The Celebrated Water Musick: (Bourree And Hornpipe)
The Celebrated Water Musick: (Allegro)
The Celebrated Water Musick: (Alla Hornpipe)
The Celebrated Water Musick: Minuet
The Celebrated Water Musick: Lentement
The Celebrated Water Musick: (Aire)
Andante in F K.616
Voluntary in d Op.6/5: Diapsons - Adagio
Voluntary in d Op.6/5: Andante Largo
Voluntary in d Op.6/5: Moderato

Customer Reviews:

Plain old timid organ music.......2007-01-13

This title is a clean and crisp collection. It contains clever transcriptions of various works, but there is no attempt to exercise the organ with dynamic range (loud/soft) or voicing (choice and mixture of pipes). You will need to be a serious lover of organ music to stay awake and enjoy this.

The English Nightingale: Virtuoso Recorder Music 1590-1830

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The English Nightingale: Virtuoso Recorder Music 1590-1830

Manufacturer: Albany Records
ProductGroup: Music
Binding: Audio CD

Fantasies | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B0000049MV
Release Date: 2006-10-24

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Havana Delirio 1830
Havana Delirio 1830
Manufacturer: Plygr
ProductGroup: Music
Binding: Audio CD
ASIN: B00000IYCY
Release Date: 1999-04-15

À la claire fontaine: Music in Krieghoff's Quebec

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À la claire fontaine: Music in Krieghoff's Quebec

Manufacturer: Opening Day
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B00004X0SL
Release Date: 2000-09-12

Tracks:

J'ai Trop Grand Peur Des Loups
La Boiteuse
A La Claire Fontaine
Tenaouiche Tenaga
Danse Sauvage, 'Stadacone'
'We Never Tell A Lie' From TIQ
Sanctus Et Benedictus De La Messe De Noel
Au Sang Qu'un Dieu Va Repandre
Confie Au Plus Tendre Des Peres (Chant Evangelique)
Nouvelle Agreable (Noel)
Dans Cette Etable (Noel)
Reel Du Pendu
Valse-Clog Medley
New Year's Waltz
Quadrille Canadien Nos.1,5,4
Marche De La St. Jean-Baptiste
Shake Again Galop
Mermaid Polka
La Mere Canadienne
Echo Malin
L'Alouette
La Huronne
Waltz Song 'Smiling Hope' From 'The Widow'
Duo 'O Trust My Love' From 'The Widow'

Ballet Gala: The Art of the Prima Ballerina

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Bonynge's First Recording of Ballet Music
Pas de Quatre and other treasures

Ballet Gala: The Art of the Prima Ballerina
Cesare Pugni , Richard Bonynge , Erich Gruenberg , and Simon Streatfeild
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Ballet Gala: Pas De Deux

ASIN: B00000E4Z0
Release Date: 1992-11-10

Customer Reviews:

Bonynge's First Recording of Ballet Music.......2005-10-26

JUST A NOTE - For those who want to own this CD, and don't want to pay the extremely ridiculous prices some sellers are asking for it, the 10 CD boxed-set "Fete du Ballet" includes the recording in it's entirety.

Richard Bonynge pioneered the genre of ballet music recordings. He began his recording career in the late 1950s/early 1960s primarily as a conductor of opera, conducting the orchestra for many recordings with the great Prima-Donna-Divas of the Opera, including his wife, the renowned soprano Joan Sutherland. Through his exposure to 19th century theatrical music Bonynge developed a passion for 19th century ballet music and began to record it, having a likewise respect for the other kind of Prima-Donna: The Prima Ballerina.

"The Art of the Prima Ballerina" was Bonynge's first venture into recording ballet music. He called upon the great Prima Ballerina Dame Alicia Markova to assist him with this recording, for which she informed him of the proper way to conduct ballet music and of how to get the right dynamics out of the orchestra as if for a live performance (though in many passages of this recording Bonynge seems to have forgotten her instruction). Bonynge and Markova made certain that the long-neglected composers of the ballet such as Cesare Pugni (1802-1870), Leon Minkus (1826-1917), and Riccardo Drigo (1846-1930) were represented here, being that the 3 of them were the most popular composers of ballet music during the 19th century (Pugni being the most prolific, having scored 312 ballets before his death), as well as the fact that up to the point that this recording was made no orchestra had ever recorded thier music. It is the inclusion of material by these composers that makes this recording so special. The only real defect is that each piece, regardless of how many individual numbers it may contain, is all put onto one track: for example Pugni's "Pas de Quatre", which itself consists of 8 seperate numbers, is all on one track; it is the same with all of the other pieces offered here that contain multiple dances. But obviously Bonynge is not the one to blame. I suggest utilizing good music software in order to splice each indiviual number, if need be. This recording, was orignally released on LP in 1962 (and included on the cover a photo of Alicia Markova in her costume for "Pas de Quatre"), and was re-released in 1992 as part of the 7 CD "Ballet Gala" series, which included Bonynge's other recordings of rare ballet music - "Pas de Deux", "Homage to Pavlova", "Invitation to the Dance", "Opera Ballets", "Massenet: 'Le Cid'; Meyerbeer: 'Les Patineurs'", and "Adam: 'Le Diable à quatre'; Ballet Music & Entr'actes". The series went out-of-print in 1996. The majority of these recordings, as well as many others recorded by Bonynge, were compiled by Decca/London Records in 2001 into the the 10 CD boxed-set "Fete du Ballet" (see CD Decca 468 578-2).

The first piece presented here is of excerpts from "The Kingdom of the Shades" scene from Petipa's 1877 ballet "La Bayadere" - a fascinating addition to this disc (recorded here is the Grand Adagio, the 3 Shade's Variaitons, Nikiya's Variation, and the Grand Coda with a severly altered ending. Unfortunatly the Entrance of the Shades, Grand Valse, Entrance of Solor, and Entrance of Nikiya are not included). The creator of the music of "La Bayadere" was the Czechoslovakian composer Ludwig Minkus, known in the west as Leon Minkus, who was the Tsar's 'First Imerial Ballet Composer' in St. Petersburg from 1871 until 1886 (when the post was abolished), though his career in Russia lasted until 1892 when he retired to Vienna. During his association with the St. Petersburg Imperial Theatres he scored over 20 ballets for Marius Petipa, adapted many already exsisting scores for Petipa's numerous revivals, and composed a nearly endless catalogue of supplemental pas and variations, "an endless chore" as he put it (his most famous revision was done to Adam's score for "Giselle" for Petipa's 1884 revival, which is still performed in Russia in his edition). The material presented on this CD is in a re-orchestrated version that was intended to be used by Anna Pavlova's touring company. Though the music was prepared and rehearsals were underway the production never materialized for unknown reasons. When Bonynge produces this recording in 1962 all that was avaialable of the Minkus music outside of communist Russia was the material presented here. The liner notes do not credit whomever was responsible for this particular orchestration, which is night and day when compared with Minkus's original, simple scoring, with lots of colorful touches and decorative counterpoint. This version of the music of the "The Kingdom of the Shades" is also included in Bonynge's recording of the full-length "La Bayadere" as revised by John Lanchbery (1923-2003) for Natalia Makarova's 1980 staging for American Ballet Theatre (see CD Decca 436 917-2). (NOTE - Also available is a recording by Boris Spassov and the Sofia National Opera Orchestra of "The Kingdom of the Shades" scene from "La Bayadere" in the orignal orchestrations of Minkus. See CD Capriccio 10 544).

Next is the Pas de Trois from Petipa's 1900 ballet "Harlequinade" (the liner notes do not credit what work this piece comes from), set to the deliciously ravishing music-box score of Riccardo Drigo, who was, before Tchaikovsky, the greatest of all the 19th century ballet composers, and even better than Delibes (in my opinion), though unfortunately much of his music is no longer performed, save perhaps the famous "Le Corsaire Pas de Deux" (which only contains his "Dreams of Spring" for the opening Adagio and his coda), and what is heard these days by the average ballet-goer is either an adaptation of someone elses music (namely Pugni, as is the "Diane and Acteon Pas de deux"), or is in a reorchestration. "Harlequinade" has survived in Russia to this day in truncated versions stemming mostly from the revivals of Alexander Gorsky, Fedor Lophukov, and Pyotr Gusev, while in the west it has been presented in George Balanchine's 1965 version, inspired by the original Petipa staging he danced as a boy. In 1907 this Pas de Trois was interpolated into Nikolai and Sergei Legat's staging of composer Josef Bayer's ballet "The Fairy Doll" at the request of Mathilde Kschessinskaya, who danced the leads in both "The Fairy Doll" and the original production of "Harlequinade". Anna Pavlova performed this Pas de Trois on her tours regularly, which was usually a show-stopper. This beautiful piece of music is well conducted by Bonynge, and played by the orchestra with great feeling (Drigo served as Pavlova's musical director for a time during the late 1910s). Drigo's talent for melody shines through in this music, with the opening Adage showing much Neopolitan influence, with an elegant main melody scored for two softly played trumpets, harp, pizzicati, and solo violin - an Italian-styled piece sounding very "moonlit night in Tuscany" if you will, obviously written for the love of Harlequin and Columbine. As far as orchestration goes, the Pas as presented here is in a very stripped down version from Drigo's original lush arrangement, with many missing parts for various instruments (likely the manuscript used by Bonynge for this recording was an old hand-copied repetiteur). Suprisingly the music does not suffer from this, and still demonstrates Drigo's obvious Italian musical heritage regarding orchestration (he was born, raised, and trained in Padua as well as at the Venice Conservatory). For some reason, the original variation for the lead ballerina of this Pas, a delightful allergo moderato in 4/4 for pizzicato, harp, and glockenspiel is not included, and instead a variation for solo clarinet for the character Pierrette from another part of the full-length "Harlequinade" is included (unfortunately this variation is severly edited, and worst of all conducted entirely to fast by Bonynge). (NOTE - See the DVD/video "Kirov Classics" to see a spectacular performance by the Kirov Ballet of this piece, with the original variation for the lead Ballerina included, and the music presented as orignally composed by Drigo, although the music is incorrectly attributed to Joseph Bayer. Note the differences in conducting from the film to Bonynge's recording).

The 3rd selection is excerpts from Act I of the 1841 ballet "Giselle". Recorded here are the famous interpolations to the original Adolphe Adam score by the composers Federich Burgmuller and Leon Minkus. First, the 'Dance of the Vignerons' (Grape Pickers) composed by Frederick Burgmuller, then the 'Pas Seul' AKA 'Variation of Giselle' by Leon Minkus, and finally the 'Peasant Pas de Deux' again composed by Bergmuller (the liner notes incorrectly credit these selections as being the work of Adam, as is often the case). The 'Peasant Pas de Deux' was interpolated into Act I of "Giselle" at the last minute right before the premiere of 1841 for the Ballerina Nathalie Fitzjames. As mistress of an influential patron of the Paris Opera, her request to participate in the production was granted. Due to another engagement Adolphe Adam was unable to compose the music for this pas de deux, and instead an already exsisting pas titled "Souvenirs de Ratisbonne" by the German composer Frederick Burgmuller was used. Likewise in 1841, the 'Dance of the Vignerons' was inserted into Act I as well, also to the music of Burgmuller. The famous Act I 'Pas Seul' AKA 'Variation of Giselle' was first danced by the great Ballerina Emma Bessone in St. Petersburg, choreographed for her by Petipa in 1887. Over time this variation came to be no longer performed, but it was later resurrected by the legendary ballerina Olga Spessivtseva in the 1910s for her own performances in the Ballet Russes's production of "Giselle", and the solo has remained part of Adam's score ever since.

For the fourth track we have more music from "Giselle", this time its the 'Grand Pas de Deux' from Act II. Presented here is a rather mild re-orchestration of the music as done by John Lanchbery (this is not credited in the liner notes) in the ealry 1960s (one must be intimately familiar with Adam's original score to notice Lanchbery's subtle differences). Lanchbery did a wonderful job with the music of "Giselle", keeping any changes very small, though I'm sure many would agree with me that it was not really necessary to re-orchestrate Adam's rather wonderful score (there is no recording of the complete ballet as re-orchestrated by Lanchbery. A CD titled "Homaage a la Pavlova" by the Orchestre Symphonique de Quebec conducted by Simon Streatfeild includes excerpts of Lanchbery's orchestrations for Act II of "Giselle". One can hear his entire orchestration in the film "Live from Lincoln Center" of "Giselle" with Baryshnikov and Makarova in the leads with American Ballet Theatre). The full Pas is recorded here, along with a little introduction taken from the preceeding number, as well as the waltz-Coda to Adam's lietmotive for Giselle and Albrecht that Minkus composed in 1866 for the Ballerina Adele Grantzow, which like Giselle's Act I solo has become part of Adam's score. For the most part Bonynge conducts the music exactly as it would be for a live performance, though the ending of the Adagio does not have the pauses that one hears in the music when seeing the ballet live. (NOTE - Bonynge conducted the only recording of the full, un-edited 1841 score by Adolphe Adam. See CD Decca 417 505-2).

The pas d'action from August Bournonville's 1836 version of the ballet "La Sylphide" is the next addition to this recording. The very first production of "La Sylphide" was created by Phillipe Taglioni for his daughter Marie and was set to a score by Jean-Madeliene Schnietzhoeffer. When the Danish Balletmaster August Bournonville planned to mount his own version in Copenhagen, he originally wanted to utilize Schnietzhoeffer's score, but the Paris Opera (where the ballet was originally performed) charged an extremely high price for a copy of the orchestral manuscript. Undeterred, Bournonville opted to commission a completly new score (to the exact same libretto) from the composer Herman Severin Loveskiold. The pas de deux recorded here takes place at the beginning of Act II of the ballet, in which the Sylph dances with James, and subsequently the enitre retinue of her sister Sylphs join in. Unfortunatly Bonynge conducts the music entirely to fast, particularly at the beginning. (NOTE - There are 2 recordings available of the complete "La Sylphide", the first is conducted by Harry Damgaard with the Danish Radio Symphony on the label CPO Records and currently out-of-print. The second recording is by David Garforth and the Royal Danish Orchestra on the label Chandos and is still available).

The next recording is of the very rarely recorded so-called "Black Swan Pas de Deux" from "Swan Lake". This Pas dates from 1895 when Marius Petipa and his 2nd Balletmaster Lev Ivanov revived "Swan Lake" for the Imperial Ballet, the version which became the definitive staging from which nearly all modern productions of the work derive both musically and choreographically. For this revival the composer Riccardo Drigo adapted the Tchaikovsky score - the modifications to the score consisted primarily of editing, modifying the endings of a few numbers, and adding material from Tchaikovsky's Opus 72 for piano arranged for the orchestra by Drigo himself. Drigo fashioned the "Black Swan Pas de Deux" from a Pas de Deux Tchaikovsky originally composed for two peasants in Act I. Drigo retained much of the orignal opening of the pas, and changed the ending of the adagio. The variation for Odile is material arranged for orchestra from Tchaikovsky's Opus 72 for piano (No.18 - "L'espiegle" orchestrated by Drigo). The variation for Prince Siegfried is not from the 1895 staging, as Prince Siegfried did not dance a variation in the 1895 version as well as in 1877 (though Alexander Gorsky, who participated in the 1895 revival as a suitor in the Act III Pas de Deux did, though it is not known to what music he danced). Siegfried's variation is credited to Vakhtang Chabukiani, who first performed this solo during the Pas in 1931 (the Kirov Ballet's current score for "Swan Lake" titles this variation as "Variation of Chabukiani"). Bonynge's conducting for the most part is pretty good, but the variation for Odile is conducted entirely to fast, and no ballerina would ever be able to dance Petipa's traditional choreography to such a ruched tempo. (NOTE - For a far better recording of so-called "Black Swan Pas de Deux" with superb conducting, see the CD "Pas de Deux - The Ballet Experience" performed by the Sofia National Opera Orchestra under the baton of Boris Spassov. There is a recording of the complete 1895 version of "Swan Lake" as modified by Riccardo Drigo - conducted by Victor Fedotov with the Mariinksy Theatre Orchestra AKA the Kirov Orchestra on the label Classical Records, it is a re-release of the same recording from 1997 that went out-of-print from the label JVC "The Swan Lake" JVCCC-6500-2.).

Second to last is an obscure piece that no doubt became included in this recording at the suggestion of Markova. It is a Bolero, orginally written for piano for the American dancer Anna Ricarda dating from 1830, and composed by an unknown hand. Markova later discovered this music and subsequently caused it's orchestration by James O'Turner. It is wonderfully melodious with a marvelous Spanish flare. Bonynge and the orchestra really bring the piece to life, making it one of the best selections included here.

Finally we come to the most special inclusion of this entire suite of ballet excerpts, and likely the main reason why this recording is so sought after - the famous divertessment "Pas de Quatre". It was Jules Perrot (co-choreographer of "Giselle", and creator of "La Esmeralda", "Ondine", among many other masterworks), the great Balletmaster of the mid-19th century that came up with the idea of putting the 4 greatest Ballerinas of his time on one stage - Lucile Grahn, Fanny Cerrito, Carlotta Grisi, and Marie Taglioni. The music was written by the Italian composer Cesare Pugni, who was, and to date still is, the most prolific composer of ballet music that has ever lived, having written 312 full-length ballet scores throughout his career (even that number does not include all of the nearly countless supplemental dances, Pas, and variations he scored!). From 1843 until 1850 Pugni served as 'Official Ballet Composer' to Her Majesty's Theatre in London, where his music was essentially the "soundtrack" of the heyday of the romantic ballet. In 1850 Pugni traveled to St. Petersburg, Russia where he served as the Romanov's 'First Imperial Ballet Composer' until his death in 1870. For "Pas de Quatre", Perrot and Pugni fashioned a Grand Pas de Quatre Classique for the 4 famous ballerinas, which had its premeiere on July 12, 1845 between acts of the opera "Anna Bolena" by Donizetti at Her Majesty's Theatre in London. It was an enormous success, so much so that the audience would not stop applauding for some 2 hours, delaying the opera to such a degree that the lead Primadonna left the theatre, and her performance was taken over by an under-study. The performance was almost canceled - Grahn, Cerrito, and Grisi all agreed that the coveted final variation should go to the great Taglioni, but it soon became clear that all 3 of them desired to dance the preceeding variation, which would indeed mark whichever Ballerina danced it as a 'successor' of sorts to Taglioni. A rivalry soon followed, so bad in fact that the performance was almost aborted entirely. The director of Her Majesty's Theatre Benjamin Lumley then had a simple solution - the order of variations preceeding Taglioni's would be determined by age, from youngest to oldest, the oldest Ballerina being the one to get the second to last solo. Perrot and Lumley knew that the last thing that the prima donna Ballerinas would do is reveal thier real ages, and the firey rivalry was soon put out. In the end, it was indeed age that determined the order of variations!

Pugni's orignal orchestral parts for "Pas de Quatre" was lost when Her Majesty's Theatre burned down in 1867, and all that survives of it today is Fanny Cerrito's variation, today part of a cache of Pugni's music housed in the National Library of France. All later performances of the work made use of orchestrations of a published piano reduction. This recording presents Pugni's music as arranged for the orchestra by William McDermott, done especially for Alicia Markova in 1951. Typically in the west, however, it is an orchestration by Leighton Lucas that most ballet-goers hear performed live in the theatre, which was done in the style of Pugni especially for Anton Dolin's definitive revival of "Pas de Quatre" in 1941, which is still performed today.

Pas de Quatre and other treasures.......2003-03-26

I took me years to track down this CD. I finally acquired it as part of the boxed set, Fete du Ballet (ASIN B00005ND46) - and I had to go to Amazon UK to order it.
But it was worth the extra effort just to get Pugni's "Pas de Quatre" music. If you're a ballet fan, there's something magical about listening to music created for Marie Taglioni - arguably the most renowned of the four ballerinas who danced to Pugni's music. I've had the good fortune to see the Pas de Quatre danced, and it's a delight. Like the choreography for the Fairies in The Sleeping Beauty, the Pas de Quatre shows off each dancer's strengths.
The Bolero 1830 is almost as difficult to find as the Pas de Quatre. And the great thing about Fete du Ballet is that it's ten CDs of 19th century treasures.

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Chopin: 1830 Warsaw Concert
Frédéric Chopin , Jozef Antoni Franciszek Elsner , Karol Kazimierz Kurpinski , Ferdinando Paer , Christoph Spering , New Berlin Chamber Orchestra , Olga Pasichnyk , Janusz Olejniczak , and Olga Pasiecznik
Manufacturer: Opus 111
ProductGroup: Music
Binding: Audio CD

Fantasies | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B00001NTKI
Release Date: 1999-09-07

Amazon.com

Volume 3 of Opus 111's Journey Around Chopin series replicates as much as possible an orchestral concert that took place March 17, 1830, in Warsaw, an occasion that sealed Chopin's early reputation as both composer and pianist. Hearing Chopin's music in this context is revealing. His restless modulations and dazzling keyboard figurations sound downright radical next to the hackneyed, workaday musicality of the Kurpinski and Elsner overtures, to say nothing of Paër's facile but empty vocal fireworks. Playing an Erard piano dating from around that time, Olejniczak plays with relaxed fluidity, and the small period-instrument aggregation proves how viable and effective Chopin's orchestrations really are. The concerted works, however, don't match the Emanuel Ax/Sir Charles Mackerras period versions on Sony for freshness and sophistication. Still and all, an absorbing release. --Jed Distler

Mario Castelnuovo-Tedesco: Coplas; Chansons grises; 1830; Trois Poèmes de la Pléïade

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Mario Castelnuovo-Tedesco: Coplas; Chansons grises; 1830; Trois Poèmes de la Pléïade

Manufacturer: Vocalia
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B000005SS1
Release Date: 1996-09-17

Tracks:

Coplas, Op.7/1: 1. Senor Alcalde Mayor
Coplas, Op.7/1: 2. Manojito de alfileres
Coplas, Op.7/1: 3. ?Gitano, porque vas preso?
Coplas, Op.7/1: 4. En medio de la mar hay
Coplas, Op.7/1: 5. Un estudiante tunante
Coplas, Op.7/1: 6. Hermosa blanca azucena
Coplas, Op.7/1: 7. Cuando el juez me demando
Coplas, Op.7/1: 8. Un rosal hace una rosa
Coplas, Op.7/1: 9. La mujer que engana a un hombre
Coplas, Op.7/1: 10. Te pintare en un cantar
Coplas, Op.7/1: 11. Dentro de mi pecho hay
Chansons Grises: 1. Il pleure dans mon coeur
Chansons Grises: 2. Un grand sommeil noir
'1830', Op.36: 1. Chanson de Barberine
'1830', Op.36: 2. Chanson de Fortunio
'1830', Op.36: 3. Chanson de Bettine
Trois Poemes De La Pleiade, Op.79: 1. Aux Zephirs
Trois Poemes De La Pleiade, Op.79: 2. La vie champetre
Trois Poemes De La Pleiade, Op.79: 3. Aux Graces
From 33 Shakesspeare Songs, Op.24/1: 1. Orpheus (book III/no.1, 1921)
From 33 Shakesspeare Songs, Op.24/1: 2. Silvia (book III/no.2, 1922)
From 33 Shakesspeare Songs, Op.24/1: 3. Seals of love (book IV/no.2, 1922)
From Poesia Svedese, Op.189: 1. Ingalill
From Poesia Svedese, Op.189: 2. Il cuore
Sera, Op.23
Un Sonetto Di Dante, Op.101
Due Sonetti Del Petrarca, Op.74 a: 1. Zefiro torna, e 'l bel tempo rimena
Due Sonetti Del Petrarca, Op.74 a: 2. Benedetto sia 'l giorno e 'l mese e l'anno
L'infinito, Op.22
Piccino Piccio...,Op.26

First Light : Scences From the Restoration Volume 1 1820-1830

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First Light : Scences From the Restoration Volume 1 1820-1830

Manufacturer: Deseret Book
ProductGroup: Music
Binding: Audio CD
ASIN: B000BPT9CO

Product Description

20 Tracks

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