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Corelli: The 12 ‘Assisi’ Sonatas (Anhang 38-49)World Premiere Recordings


Enrico Gatti (violin), Gaetano Nasillo (cello) & Anna Fontana (harpsichord)
Ensemble Aurora

2014留声机奖：
http://www.mdt.co.uk/blog/awards ... wsletter-28-08-2014

肯尼迪新四季，封面吓人。

小雅又添新作。

看来是要录全集了。
Beethoven
Symphonies 2 & 8

• [1-4] Symphony No.2 in D major, Op.36
• [5-8] Symphony No.8 in F major, Op.93

Orchestre Révolutionnaire Et Romantique / John Eliot Gardiner
Recorded in London, November 2013
October 2014 marks the 25th anniversary of the founding of the Orchestre Révolutionnaire et Romantique. Twenty years after their acclaimed Beethoven Symphonies recordings for Deutsche Grammophon, Sir John Eliot Gardiner and the orchestra continue to revisit this repertoire - this album follows the release of Symphonies 5 % 7 recorded live at Carnegie Hall.
The Second and Eighth, two of the “lighter” symphonies, are among Sir John Eliot’s favourites. The Second’s life-affirming energy is rooted in Mozart and 18th c. opera, at times romantically tender and others ferociously determined. Beethoven’s adventurous spirit can be heard in the Eighth, which is buoyant and energetic with a spirit of wit and playfulness.
The album is presented in a digipack and contains a 28 pages booklet with original notes by BBC presenter and music journalist Stephen Johnson, translated in German and French.
"From the very start, the cut-to-the-bone immediacy of the sound puts you up close and personal to the performance"
Gramophone
“After hearing these explosive, invigorating and electrifying performances, we are reminded once again of the ferocious intensity that must have shell-shocked 19th century Viennese audiences.” BBC Music Magazine
“The execution is fabulous, the (superlative) stylistic foundation always at the service of the music’s rhythm, energy and inner logic” Financial Times
Soli Deo Gloria SDG721

巴赫小鞋何其多！
+Air aus Orchestersuite Nr. 3; Chaconne aus Partita Nr. 2; Gavotte en Rondeau aus Partita BWV 1006
搭配曲目不错!

LULLY Amadis
After 'Roland', 'Persée', 'Bellérophon' and, most recently, 'Phaéton', Christophe Rousset continues his revival of Lully's tragédies lyriques, written at the time of Louis XIV, with this performance of 'Amadis', one of the composer’s finest scores: a masterpiece of French music, wonderfully balanced, extremely accomplished. It was Louis XIV himself who asked Lully and his librettist Quinault to base an opera on Montalvo’s early 16th C 'Amadís de Gaula', thus breaking with the usual mythological subjects and giving them an opportunity to change significantly the general intention of the tragédie lyrique genre. For the first time the prologue is closely linked to the main body of the work. The ‘symphonic’ pieces, supported by trumpets and kettledrums, are quite remarkable, especially the final chaconne, which is probably the finest in the whole of French opera. The arias are full of feeling, with the famous ‘Bois épais’, ‘Tu me trahis, malheureux’, ‘Il m’appelle’ moving constantly between heroic courage and the sadness caused by fearful love.
'Amadis', premièred in Paris in 1684, was performed constantly in the capital until 1772 and is here captured in a new recording from 4-6 July 2013 at the Opéra royal du Château de Versailles.

Rameau: Les Fêtes de l'Hymen et de l'Amour, ou Les Dieux d'Égypte


The latest in Hervé Niquet's 'reinvigorations' of French operatic music from the Baroque and beyond for Glossa is Rameau’s 1747 'Les Fêtes de l’Hymen et de l’Amour'. A ballet heroïque in a prologue and three entrées, the whole work was designed to comprise a complete theatrical spectacle. Music for dancing – as befits a ballet – is given a prominent role and Rameau is able to create especially expressive symphonies and to give the choruses – even a double-chorus – an integral role in the action. Added to this are supernatural effects, and plots for the entrées which explored the then uncommon world of Egyptian mythology (including a musical depiction of the flooding of the River Nile). In his vocal music Rameau deftly switches between Italianate style and the French mode, current in the mid-18th century, allowing the distinguished team of vocal soloists to demonstrate their accomplished talents. Overseen by the Centre de musique baroque de Versailles, and with booklet notes from Thomas Soury, this new recording is an important addition to the Rameau catalogue – the more so in the 250th anniversary year of the composer’s death. It brings to life one of Rameau’s finer, if underrated, compositions, and a dramatic work written on the cusp of important reforms in opera.

录完了？

环球现在一张CD都有超过85分钟了？
85‘37“

好好的一套巴洛克唱片，吐槽有二：封面能在难看点吗？
每张唱片都过80分钟，83分钟和82分钟，就不能搞成3张吗？

你搞成两张碟，卖一张价。还有个卖点。

JPC有：https://www.jpc.de/jpcng/classic/detail/-/art/ludwig-van-beethoven-klaviersonaten-nr-1-32/hnum/6048895

打的之歌！

16\17\18\19\20

Berlin, 16 October 2014. Deutsche Grammophon today announced the exclusive signing of Grigory Sokolov, one of the world’s most enigmatic and visionary artists.

His first album for the Yellow Label, a recital of works by Mozart and Chopin recorded LIVE at the 2008 Salzburg Festival, is set for global release in January 2015. This will be his first new album for almost 20 years – since a Schubert Sonatas disc, recorded in 1992, came to the market in 1996.

http://www.deutschegrammophon.com/en/gpp/index/grigory-sokolov-signing

美图！

巴歌永无止境！

小夜曲！