{"title":"HYBRID SACDs","description":"\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/sacdbanner_480x480.png?v=1670849648\" alt=\"\" width=\"544\" height=\"68\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/sacdbanner_480x480.png?v=1670849648\"\u003e","products":[{"product_id":"bach-st-matthew-passion-choir-of-kings-college-cambridge-academy-of-ancient-music-3-sacd","title":"BACH: ST. MATTHEW PASSION - CHOIR OF KING'S COLLEGE, CAMBRIDGE; ACADEMY OF ANCIENT MUSIC (3 HYBRID SACD)","description":"\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/DESCRIPTION_WITH_WORLD_1_d3cbde07-5ae0-4b7f-9879-ebe2002a9708_480x480.png?v=1585851235\" alt=\"\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eJames Gilchrist (Evangelist), Matthew Rose (Jesus), Sophie Bevan (soprano), David Allsopp (countertenor), Mark Le Brocq (tenor), William Gaunt (bass)\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAcademy of Ancient Music, Choir of King's College Cambridge, King's College School Choir, Stephen Cleobury\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded before Sir Stephen Cleobury's untimely passing in November 2019, King's College presents a new account of one of the greatest masterpieces in sacred music - Bach's St. Matthew Passion. For this recording, Cleobury leads the Choir of King's College, Cambridge and the Academy of Ancient Music alongside some of the finest British singers performing today, including one of the finest Evangelists of our time, James Gilchrist. The album is accompanied by a booklet with over 60 pages of texts and photographs, including a full translation by Michael Marissen and a specially commissioned essay by John Butt.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_1_462c47e3-b42f-43c8-91d4-47d2d450bbe3_480x480.png?v=1585856353\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003eBach: St. Matthew Passion - Part 1, No.1 - Kommt, Ihr Tochter, Helft Mir Klagen\u003cbr\u003e2 Bach: St. Matthew Passion - Part 1, No.2 - Da Jesus Diese Rede Vollendet Hatte\u003cbr\u003e3 Bach: St. Matthew Passion - Part 1, No.3 - Herzliebster Jesu, Was Hast Du Verbrochen\u003cbr\u003e4 Bach: St. Matthew Passion - Part 1, No.4 - Da Versammleten Sich Die Hohenpriester\u003cbr\u003e5 Bach: St. Matthew Passion - Part 1, No.5 - Du Lieber Heiland Du\u003cbr\u003e6 Bach: St. Matthew Passion - Part 1, No.6 - Buss Und Reu\u003cbr\u003e7 Bach: St. Matthew Passion - Part 1, No.7 - Da Ging Hin Der Zwolfen Einer\u003cbr\u003e8 Bach: St. Matthew Passion - Part 1, No.8 - Blute Nur, Du Liebes Herz\u003cbr\u003e9 Bach: St. Matthew Passion - Part 1, No.9 - Aber Am Ersten Tage Der Sussen Brot\u003cbr\u003e10 Bach: St. Matthew Passion - Part 1, No.10 - Ich Bins, Ich Sollte Bussen\u003cbr\u003e11 Bach: St. Matthew Passion - Part 1, No.11 - Er Antwortete Und Sprach\u003cbr\u003e12 Bach: St. Matthew Passion - Part 1, No.12 - Wiewohl Mein Herz in Tranen Schwimmt\u003cbr\u003e13 Bach: St. Matthew Passion - Part 1, No.13 - Ich Will Dir Mein Herze Schenken\u003cbr\u003e14 Bach: St. Matthew Passion - Part 1, No.14 - Und Da Sie Den Lobgesang Gesprochen Hatten\u003cbr\u003e15 Bach: St. Matthew Passion - Part 1, No.15 - Erkenne Mich, Mein Huter\u003cbr\u003e16 Bach: St. Matthew Passion - Part 1, No.16 - Petrus Aber Antwortete Und Sprach Zu Ihm\u003cbr\u003e17 Bach: St. Matthew Passion - Part 1, No.17 - Ich Will Hier Bei Dir Stehen\u003cbr\u003e18 Bach: St. Matthew Passion - Part 1, No.18 - Da Kam Jesus Mit Ihnen Zu Einem Hofe\u003cbr\u003e19 Bach: St. Matthew Passion - Part 1, No.19 - O Schmerz! Hier Zittert Das Gequalte Herz\u003cbr\u003e20 Bach: St. Matthew Passion - Part 1, No.20 - Ich Will Bei Meinem Jesu Wachen\u003cbr\u003e21 Bach: St. Matthew Passion - Part 1, No.21 - Und Ging Hin Ein Wenig\u003cbr\u003e22 Bach: St. Matthew Passion - Part 1, No.22 - Der Heiland Fallt Vor Seinem Vater Nieder\u003cbr\u003e23 Bach: St. Matthew Passion - Part 1, No.23 - Gerne Will Ich Mich Bequemen\u003cbr\u003e24 Bach: St. Matthew Passion - Part 1, No.24 - Und Er Kam Zu Seinem Jungern\u003cbr\u003e25 Bach: St. Matthew Passion - Part 1, No.25 - Was Mein Gott Will, Das G'scheh Allzeit\u003cbr\u003e26 Bach: St. Matthew Passion - Part 1, No.26 - Und Er Kam Und Fand Sie Aber Schlafend\u003cbr\u003e27 Bach: St. Matthew Passion - Part 1, No.27 - So Ist Mein Jesus Nun Gefangen\u003cbr\u003e28 Bach: St. Matthew Passion - Part 1, No.28 - Und Siehe, Einer Aus Denen\u003cbr\u003e29 Bach: St. Matthew Passion - Part 1, No.29 - O Mensch, Bewein Dein Sunde Gross\u003cbr\u003e30 Bach: St. Matthew Passion - Part 2, No.30 - Ach, Nun Ist Mein Jesus Hin\u003cbr\u003e31 Bach: St. Matthew Passion - Part 2, No.31 - Die Aber Jesum Gegriffen Hatten\u003cbr\u003e32 Bach: St. Matthew Passion - Part 2, No.32 - Mir Hat Die Welt Truglich Gericht\u003cbr\u003e33 Bach: St. Matthew Passion - Part 2, No.33 - Und Wiewohl Viel Falsche Zeugen Herzutraten\u003cbr\u003e34 Bach: St. Matthew Passion - Part 2, No.34 - Mein Jesus Schweigt\u003cbr\u003e35 Bach: St. Matthew Passion - Part 2, No.35 - Geduld! Wenn Mich Falsche Zungen Stechen\u003cbr\u003e36 Bach: St. Matthew Passion - Part 2, No.36 - Und Der Hohepriester Antwortete\u003cbr\u003e37 Bach: St. Matthew Passion - Part 2, No.37 - Wer Hat Dich So Geschlagen\u003cbr\u003e38 Bach: St. Matthew Passion - Part 2, No.38 - Petrus Aber Sass Draussen Im Palast\u003cbr\u003e39 Bach: St. Matthew Passion - Part 2, No.39 - Erbarme Dich, Mein Gott\u003cbr\u003e40 Bach: St. Matthew Passion - Part 2, No.40 - Bin Ich Gleich Von Dir Gewichen\u003cbr\u003e41 Bach: St. Matthew Passion - Part 2, No.41 - Des Morgens Aber Hielten Alle Hohepriester\u003cbr\u003e42 Bach: St. Matthew Passion - Part 2, No.42 - Gebt Mir Meinem Jesum Wieder\u003cbr\u003e43 Bach: St. Matthew Passion - Part 2, No.43 - Sie Hielten Aber Einen Rat\u003cbr\u003e44 Bach: St. Matthew Passion - Part 2, No.44 - Befiehl Du Deine Wege\u003cbr\u003e45 Bach: St. Matthew Passion - Part 2, No.45 - Auf Das Fest Aber Hatte Der Landpfleger Gewohnheit\u003cbr\u003e46 Bach: St. Matthew Passion - Part 2, No.46 - Wie Wunderbarlich Ist Doch Diese Strafe\u003cbr\u003e47 Bach: St. Matthew Passion - Part 2, No.47 - Der Landpfleger Sagte\u003cbr\u003e48 Bach: St. Matthew Passion - Part 2, No.48 - Er Hat Uns Allen Wohlgetan\u003cbr\u003e49 Bach: St. Matthew Passion - Part 2, No.49 - Aus Liebe Will Mein Heiland Sterben\u003cbr\u003e50 Bach: St. Matthew Passion - Part 2, No.50 - Sie Schrieen Aber Noch Mehr\u003cbr\u003e51 Bach: St. Matthew Passion - Part 2, No.51 - Erbarm Es Gott\u003cbr\u003e52 Bach: St. Matthew Passion - Part 2, No.52 - Konnen Tranen Meiner Wangen\u003cbr\u003e53 Bach: St. Matthew Passion - Part 2, No.53 - Da Nahmen Die Kriegsknechte Das Landpflegers\u003cbr\u003e54 Bach: St. Matthew Passion - Part 2, No.54 - O Haupt Voll Blut Und Wunden\u003cbr\u003e55 Bach: St. Matthew Passion - Part 2, No.55 - Und Da Sie Ihn Verspottet Hatten\u003cbr\u003e56 Bach: St. Matthew Passion - Part 2, No.56 - Ja Freilich Will in Uns Das Fleisch Und Blut\u003cbr\u003e57 Bach: St. Matthew Passion - Part 2, No.57 - Komm, Susses Kreuz, So Will Ich Sagen\u003cbr\u003e58 Bach: St. Matthew Passion - Part 2, No.58 - Und Da Sie An Die Statte Kamen\u003cbr\u003e59 Bach: St. Matthew Passion - Part 2, No.59 - Ach Golgatha, Unselges Golgatha\u003cbr\u003e60 Bach: St. Matthew Passion - Part 2, No.60 - Sehet, Jesus Hat Die Hand\u003cbr\u003e61 Bach: St. Matthew Passion - Part 2, No.61 - Und Von Der Sechsten Stunde An\u003cbr\u003e62 Bach: St. Matthew Passion - Part 2, No.62 - Wenn Ich Einmal Soll Scheiden\u003cbr\u003e63 Bach: St. Matthew Passion - Part 2, No.63 - Und Siehe Da, Der Vorhang Im Tempel Zerriss\u003cbr\u003e64 Bach: St. Matthew Passion - Part 2, No.64 - Am Abend, Da Es Kuhle War\u003cbr\u003e65 Bach: St. Matthew Passion - Part 2, No.65 - Mache Dich, Mein Herze, Rein\u003cbr\u003e66 Bach: St. Matthew Passion - Part 2, No.66 - Und Joseph Nahm Den Leib\u003cbr\u003e67 Bach: St. Matthew Passion - Part 2, No.67 - Nun Ist Der Herr Zur Ruh Gebracht\u003cbr\u003e68 Bach: St. Matthew Passion - Part 2, No.68 - Wir Setzen Uns Mit Tranen Nieder\u003c\/p\u003e","brand":"KING'S COLLEGE CHOIR","offers":[{"title":"Default Title","offer_id":31792252682327,"sku":"822231703723","price":20.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/3783153-2546781.jpg?v=1587491309"},{"product_id":"couperin-lecons-de-tenebres","title":"Couperin: Lecons De Tenebres - La Nuova Musica, David Bates (Hybrid SACD)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_2117ea39-fb9c-4383-b2cf-5101698d9e3f_480x480.png?v=1641839543\"\u003e\u003c\/p\u003e\n\u003cp\u003eLa Nuova Musica\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDavid Bates - Conductor\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eLucy Crowe - Soprano\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eElizabeth Watts - Soprano\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eJames Arthur - Baritone\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eEdward Grint - Bass\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFrançois Couperin (1668-1733) served as harpsichordist to Louis XIV and was famed for reforming elegant chamber music of the French court in the more impassioned Italian style of the time. For his Leçons de Ténèbres (c. 1713-17), a setting of the Lamentations of Jeremiah, “Couperin le Grand” fused devotional expression with a dramatic performing style embodied here by sopranos Lucy Crowe and Elizabeth Watts. Two Trio Sonatas and a Stabat Mater by Sébastien de Brossard (1655-1730) round out this luminous programme.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_3f509f59-fe4f-4f86-9886-843a741b8836_480x480.png?v=1641838621\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_3f509f59-fe4f-4f86-9886-843a741b8836_480x480.png?v=1641838621\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFrançois Couperin [1668-1733]\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003ePremière Leçon, à une voix\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e1I. Incipit Lamentatio Jeremiae prophetae0'41\u003cbr data-mce-fragment=\"1\"\u003e2II. Aleph. Quomodo sedet sola 2'16\u003cbr data-mce-fragment=\"1\"\u003e3III. Beth. Plorans ploravit in nocte 3'41\u003cbr data-mce-fragment=\"1\"\u003e4IV. Ghimel. Migravit Juda 1'50\u003cbr data-mce-fragment=\"1\"\u003e5V. Daleth. Viae Sion lugent 2'28\u003cbr data-mce-fragment=\"1\"\u003e6VI. He. Facti sunt hostes 3'08\u003cbr data-mce-fragment=\"1\"\u003e7VII. Jerusalem, convertere 3'36\u003cbr data-mce-fragment=\"1\"\u003eSébastien de Brossard [1655-1730]\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e8Sonate en trio (mi mineur), SdB. 220 7'07\u003cbr data-mce-fragment=\"1\"\u003eFrançois Couperin [1668-1733]\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSeconde Leçon, à une voix\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e9I. Vau. Et egressus est 2'11\u003cbr data-mce-fragment=\"1\"\u003e10II. Zain. Recordata est Jerusalem 3'17\u003cbr data-mce-fragment=\"1\"\u003e11III. Heth. Peccatum peccavit Jerusalem 1'54\u003cbr data-mce-fragment=\"1\"\u003e12IV. Heth. Peccatum peccavit Jerusalem 2'48\u003cbr data-mce-fragment=\"1\"\u003e13V. Jerusalem, convertere 2'35\u003cbr data-mce-fragment=\"1\"\u003eSébastien de Brossard [1655-1730]\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e14Sonate en trio (la mineur), SdB. 223 5'04\u003cbr data-mce-fragment=\"1\"\u003eFrançois Couperin [1668-1733]\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eTroisième Leçon, à deux voix\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e15I. Jod. Manum suam misit hostis 1'40\u003cbr data-mce-fragment=\"1\"\u003e16II. Caph. Omnis populis ejus 1'46\u003cbr data-mce-fragment=\"1\"\u003e17III. Lamed. O vos omnes 2'38\u003cbr data-mce-fragment=\"1\"\u003e18IV. Mem. De excelso misit ignem 1'48\u003cbr data-mce-fragment=\"1\"\u003e19V. Nun. Vigilavit jugum 1'56\u003cbr data-mce-fragment=\"1\"\u003e20VI. Jerusalem, convertere 2'06\u003cbr data-mce-fragment=\"1\"\u003eSébastien de Brossard [1655-1730]\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eStabat Mater, SdB. 8\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e21I. Stabat mater dolorosa 1'05\u003cbr data-mce-fragment=\"1\"\u003e22II. Cujus animam gementem 0'54\u003cbr data-mce-fragment=\"1\"\u003e23III. O quam tristis 1'49\u003cbr data-mce-fragment=\"1\"\u003e24IV. Quae maerebat et dolebat0'37\u003cbr data-mce-fragment=\"1\"\u003e25V. Quis est homo 1'19\u003cbr data-mce-fragment=\"1\"\u003e26VI. Pro peccatis suae gentis0'45\u003cbr data-mce-fragment=\"1\"\u003e27VII. Vidit suum dulcem natum 1'21\u003cbr data-mce-fragment=\"1\"\u003e28VIII. Eia mater, fons amoris 1'37\u003cbr data-mce-fragment=\"1\"\u003e29IX. Sancta Mater, istud agas 1'01\u003cbr data-mce-fragment=\"1\"\u003e30X. Tui nati vulnerati 0'59\u003cbr data-mce-fragment=\"1\"\u003e31XI. Virgo virginum praeclara 1'38\u003cbr data-mce-fragment=\"1\"\u003e32XII. Fac ut portem Christi mortem 2'57\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e","brand":"HARMONIA MUNDI","offers":[{"title":"Default Title","offer_id":32371998752855,"sku":"093046765965","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/3427438.jpg?v=1641935252"},{"product_id":"howells-cello-concerto-an-english-mass-the-choir-of-kings-college-cambridge","title":"Howells: Cello Concerto, An English Mass \u0026 Other Works - The Choir of King's College Cambridge (2 SACDs)","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/ABOUT_THIS_RECORDING_W._WORLD_2_1730b12e-581d-4407-87fb-2175c2fd5123_480x480.png?v=1603210905\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHowells: Cello Concerto \u0026amp; An English Mass - A double-disc set of orchestral, choral and organ music by one of the most distinguished English composers of the 20th century. Herbert Howells’ An English Mass is presented by the Choir of King’s College, Cambridge with the Britten Sinfonia, recorded in the sublime acoustic of King’s College Chapel. Alongside the work is the magnificent orchestrated Te Deum from the Collegium Regale service, and a premiere recording of the Magnificat from the same service, orchestrated by John Rutter. For both these recordings, the Choir and orchestra are joined additionally by the King’s College mixed voice choir, King’s Voices.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHowells’ completed Cello Concerto is performed by former King’s chorister Guy Johnston, one of the UK’s best solo cellists, with the Britten Sinfonia directed by Christopher Seaman. Also recorded in King’s College Chapel, the surround-sound recording presents this glorious, but lesser-known work in a way never before heard, but in an environment perfectly suited to Howells’ music. Stephen Cleobury rounds off the second part of the album with three of Howells’ best-known organ works, performed on the recently-restored Harrison \u0026amp; Harrison organ, also presented here in surround-sound.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAccompanying the album are specially-written essays by two of the foremost experts on the composer. Paul Spicer explores how the thrilling Te Deum came about as the result of a bet between Howells and the Dean of King’s, and the subsequent canticle settings for cathedrals and foundations across the land for which Howells became so well-known. An English Mass, in contrast, is one of Howells’ darkest religious works, with an agonising and troubled presentation of much of the Mass, and Spicer’s essay considers Howells’ state of mind and some of the possible reasons for this. Jonathan Clinch’s essay describes the fascinating journey of completing Howells’ Cello Concerto, giving a remarkable insight into the mind of the composer and the history of the work itself.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/REVIEWS_CS_WORLD_e2cbcdd7-c34d-4fcf-b5b5-95dc78bcf7cf_480x480.png?v=1604446108\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003e\u003cem\u003eImpeccably judged sound and balance throughout; authoritative annotations, too, from Paul Spicer and Jonathan Clinch. All told, a hugely rewarding issue, and absolutely not be missed’\u003c\/em\u003e (Gramophone)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_1_4141ea1a-18ea-4393-9ecf-99ce6292e81f_480x480.png?v=1603210997\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_1_4141ea1a-18ea-4393-9ecf-99ce6292e81f_480x480.png?v=1603210997\"\u003e\u003cbr\u003eCD1\u003cbr data-mce-fragment=\"1\"\u003e1\u003cbr data-mce-fragment=\"1\"\u003eTe Deum We praise thee, O God (Morning Canticle 1 from Collegium Regale 'King's College Cambridge Service')[8'53]\u003cbr data-mce-fragment=\"1\"\u003eKing's College Choir Cambridge, King's Voices, Britten Sinfonia, Sir Stephen Cleobury (conductor), Henry Websdale (organ)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAn English Mass[35'08]\u003cbr data-mce-fragment=\"1\"\u003eKing's College Choir Cambridge, Britten Sinfonia\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e2\u003cbr data-mce-fragment=\"1\"\u003eKyrie[5'42]\u003cbr data-mce-fragment=\"1\"\u003eSir Stephen Cleobury (conductor), Henry Websdale (organ)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e3\u003cbr data-mce-fragment=\"1\"\u003eCredo I believe in one God, the Father Almighty[8'41]\u003cbr data-mce-fragment=\"1\"\u003eBen Parry (conductor), Dónal McCann (organ)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e4\u003cbr data-mce-fragment=\"1\"\u003eSursum corda Lift up your hearts[0'58]\u003cbr data-mce-fragment=\"1\"\u003eSir Stephen Cleobury (conductor)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e5\u003cbr data-mce-fragment=\"1\"\u003eSanctus Holy, holy, holy, Lord God of hosts[2'50]\u003cbr data-mce-fragment=\"1\"\u003eSir Stephen Cleobury (conductor), Henry Websdale (organ)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e6\u003cbr data-mce-fragment=\"1\"\u003eBenedictus Blessed is he that cometh in the name of the Lord[4'13]\u003cbr data-mce-fragment=\"1\"\u003eSir Stephen Cleobury (conductor), Henry Websdale (organ)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e7\u003cbr data-mce-fragment=\"1\"\u003eAgnus Dei O lamb of God[3'35]\u003cbr data-mce-fragment=\"1\"\u003eSir Stephen Cleobury (conductor), Henry Websdale (organ)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e8\u003cbr data-mce-fragment=\"1\"\u003eGloria Glory be to God on high[9'09]\u003cbr data-mce-fragment=\"1\"\u003eSir Stephen Cleobury (conductor), Dónal McCann (organ)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e9\u003cbr data-mce-fragment=\"1\"\u003eMagnificat My soul doth magnify the Lord (Evening Canticle 1 from Collegium Regale 'King's College Cambridge Service')[4'57]arr. John Rutter (b1945)\u003cbr data-mce-fragment=\"1\"\u003eKing's College Choir Cambridge, King's Voices, Britten Sinfonia, Sir Stephen Cleobury (conductor), Dónal McCann (organ)\u003cbr data-mce-fragment=\"1\"\u003eCello Concerto[35'01]\u003cbr data-mce-fragment=\"1\"\u003eGuy Johnston (cello), Britten Sinfonia, Christopher Seaman (conductor)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eCD2\u003cbr data-mce-fragment=\"1\"\u003e10\u003cbr data-mce-fragment=\"1\"\u003eFantasia: Tranquillo – Assai andante[17'08]\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e11\u003cbr data-mce-fragment=\"1\"\u003eThrenody: Lento calmato – Assai teneramente[9'20]\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e12\u003cbr data-mce-fragment=\"1\"\u003eFinale: Allegro vigoroso[8'33]\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e13\u003cbr data-mce-fragment=\"1\"\u003ePaean (No 6 of Six Pieces for organ)[6'14]\u003cbr data-mce-fragment=\"1\"\u003eSir Stephen Cleobury (organ)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e14\u003cbr data-mce-fragment=\"1\"\u003eMaster Tallis's Testament (No 3 of Six Pieces for organ)[6'44]\u003cbr data-mce-fragment=\"1\"\u003eSir Stephen Cleobury (organ)\u003cbr data-mce-fragment=\"1\"\u003eThree Rhapsodies Op 17\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e15\u003cbr data-mce-fragment=\"1\"\u003eNo 3: C sharp minor[6'40]\u003cbr data-mce-fragment=\"1\"\u003eSir Stephen Cleobury (organ)\u003cbr\u003e\u003c\/p\u003e","brand":"KING'S COLLEGE CHOIR","offers":[{"title":"Default Title","offer_id":32404526956631,"sku":"822231703228","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/61wnLbqSMaL._SL1200.jpg?v=1604526852"},{"product_id":"1865-songs-of-hope-home-from-the-american-civil-anonymous-4-molsky","title":"1865: SONGS OF HOPE \u0026 HOME FROM THE AMERICAN CIVIL WAR - ANONYMOUS 4, MOLSKY (HYBRID SACD)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_ef3867fa-2429-44fd-acd4-158b72d210f4_480x480.png?v=1678393484\"\u003e\u003c\/p\u003e\n\u003cp\u003e1 Weeping, Sad and Lonely\u003cbr\u003e2 Darling Nelly Gray\u003cbr\u003e3 Hard Times Come Again No More\u003cbr\u003e4 Sweet Evelina\u003cbr\u003e5 Bright Sunny South\u003cbr\u003e6 The Southern Soldier Boy\u003cbr\u003e7 Tenting on the Old Camp Ground\u003cbr\u003e8 Aura Lea\u003cbr\u003e9 Listen to the Mocking Bird\u003cbr\u003e10 Camp Chase\u003cbr\u003e11 Brother Green\u003cbr\u003e12 The Faded Coat of Blue\u003cbr\u003e13 The Maiden in the Garden\u003cbr\u003e14 The True Lover's Farewell\u003cbr\u003e15 Home, Sweet Home\u003cbr\u003e16 The Picture on the Wall\u003cbr\u003e17 Abide with Me\u003cbr\u003e18 Shall We Gather at the River?\u003c\/p\u003e","brand":"HARMONIA MUNDI","offers":[{"title":"Default Title","offer_id":42170109427962,"sku":"093046754969","price":19.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/2828671.jpg?v=1678996780"},{"product_id":"divine-theatre-sacred-motets-by-giaches-de-wert-stile-antico","title":"DIVINE THEATRE: SACRED MOTETS BY GIACHES DE WERT - STILE ANTICO (Hybrid SACD)","description":"\u003cp\u003eStile Antico\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe other side of Giaches de Wert.\u003cbr data-mce-fragment=\"1\"\u003eGiaches de Wert is best known for his madrigals - the perfect bridge between the polyphony of the high Renaissance and the new style of Monteverdi. Stile Antico's new album introduces us to another side of this composer who, though Flemish-born, spent most of his life in Italy, primarily in Mantua. The unique and dramatic style of these remarkable motets cannot fail to ravish explorers of this 'divine theatre'.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_6ac9d75a-df8f-4962-9937-0c0941b6069d_480x480.png?v=1670535320\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_6ac9d75a-df8f-4962-9937-0c0941b6069d_480x480.png?v=1670535320\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e1Gaudete in Domino 1'32\u003cbr data-mce-fragment=\"1\"\u003e2Hoc enim sentite in vobis 7'33\u003cbr data-mce-fragment=\"1\"\u003e3Saule, Saule 3'46\u003cbr data-mce-fragment=\"1\"\u003e4Vox in Rama audita est 4'46\u003cbr data-mce-fragment=\"1\"\u003e5Amen, amen dico vobis 5'51\u003cbr data-mce-fragment=\"1\"\u003e6Egressus Jesus 6'09\u003cbr data-mce-fragment=\"1\"\u003e7Peccavi super numerum 8'07\u003cbr data-mce-fragment=\"1\"\u003e8O Crux ave, spes unica 3'40\u003cbr data-mce-fragment=\"1\"\u003e9Ascendente Jesu in naviculam 5'03\u003cbr data-mce-fragment=\"1\"\u003e10Virgo Maria hodie ad coelum 4'54\u003cbr data-mce-fragment=\"1\"\u003e11Quiescat vox tua a ploratu 7'23\u003cbr data-mce-fragment=\"1\"\u003e12Deus iustus, et salvans 3'02\u003cbr data-mce-fragment=\"1\"\u003e13O altitudo divitiarum 5'26\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e","brand":"HARMONIA MUNDI","offers":[{"title":"Default Title","offer_id":42170115752186,"sku":"3149020762066","price":18.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/3543492.jpg?v=1670881574"},{"product_id":"path-of-miracles-talbot-j-conspirare-johnson-craig-hella","title":"TALBOT: PATH OF MIRACLES - Conspirare, Craig Hella Johnson (HYBRID SACD)","description":"1\u003cbr data-mce-fragment=\"1\"\u003ePath of Miracles: I. Roncesvalles\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e2\u003cbr data-mce-fragment=\"1\"\u003ePath of Miracles: II. Burgos\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e3\u003cbr data-mce-fragment=\"1\"\u003ePath of Miracles: III. Leon\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e4\u003cbr data-mce-fragment=\"1\"\u003ePath of Miracles: IV. Santiago","brand":"HARMONIA MUNDI","offers":[{"title":"Default Title","offer_id":42170123288826,"sku":"093046760366","price":18.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/2868510.jpg?v=1686879789"},{"product_id":"sacrifices-charpentier-carissimi-de-brossard-bates","title":"SACRIFICES: CHARPENTIER \u0026 CARISSIMI - La Nuova Musica (Hybrid SACD)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_b79a4887-e333-4cca-a4b2-e2b81d298cf5_480x480.png?v=1681155905\"\u003e\u003c\/p\u003e\n\u003cp\u003e1 Sébastien de Brossard– Symphonie Pour Le Graduel (Ré Majeur)\u003cbr data-mce-fragment=\"1\"\u003e2:18\u003cbr data-mce-fragment=\"1\"\u003eMarc Antoine Charpentier Le Reniement de Saint Pierre H. 424\u003cbr data-mce-fragment=\"1\"\u003e2 – \"Cum Cænasset Jesus\" 4:05\u003cbr data-mce-fragment=\"1\"\u003e3 – \"Ecce Judas\" 4:49\u003cbr data-mce-fragment=\"1\"\u003e4 – \"Tunc respexit Jesus Petrum\" 2:59\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003e5 Sébastien de Brossard– Symphonie Pour Le Graduel (Sol Mineur)\u003cbr data-mce-fragment=\"1\"\u003e2:24\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003eMarc Antoine Charpentier Sacrificium Abrahæ H. 402\u003cbr data-mce-fragment=\"1\"\u003e6 – \"Cum Centum Esset Annorum Abraham\" 4:23\u003cbr data-mce-fragment=\"1\"\u003e7 – \"Abraham, Abraham!\" 5:56\u003cbr data-mce-fragment=\"1\"\u003e8 – \"Et Pergentes Pariter\" 5:18\u003cbr data-mce-fragment=\"1\"\u003e9 – \"Et Reversus Abraham ad pueros suos\" 3:39\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003eSébastien De Brossard Sonate En Trio (Ré Majeur)\u003cbr data-mce-fragment=\"1\"\u003e10 – I. 1:34\u003cbr data-mce-fragment=\"1\"\u003e11 – II. Rondeau 1:27\u003cbr data-mce-fragment=\"1\"\u003e12 – III. Rigaudon 1:48\u003cbr data-mce-fragment=\"1\"\u003e13 – IV. 0:54\u003cbr data-mce-fragment=\"1\"\u003e14 – V. 1:27\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003eGiacomo Carissimi Historia di Jephte\u003cbr data-mce-fragment=\"1\"\u003e15 – \"Cum Vocasset In Prælieum\" 4:37\u003cbr data-mce-fragment=\"1\"\u003e16 – \"Incipite In Tympanis\" 3:43\u003cbr data-mce-fragment=\"1\"\u003e17 – \"Cantemus Omnes Domino\" 1:16\u003cbr data-mce-fragment=\"1\"\u003e18 – \"Cum Vidisset Jephte\" 5:30\u003cbr data-mce-fragment=\"1\"\u003e19 – \"Plorate Colles\" 4:53\u003cbr data-mce-fragment=\"1\"\u003e20 – \"Plorate, filii Israel\" 3:50\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e","brand":"HARMONIA MUNDI","offers":[{"title":"Default Title","offer_id":42170125418746,"sku":"093046758868","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/2604681.jpg?v=1686879333"},{"product_id":"bach-weihnachts-oratorium-le-concert-des-nations-savall-jordi","title":"BACH: WEIHNACHTS-ORATORIUM (CHRISTMAS ORATORIO) - LE CONCERT DES NATIONS, SAVALL (2 HYBRID SACDS)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_80976754-e9e0-46de-b62f-ac42fe034a4c_480x480.png?v=1646155801\"\u003e\u003c\/p\u003e\n\u003cp\u003e1-9. I. TEIL – Jauchzet, frohlocket, auf, preiset die Tage 25’52\u003cbr data-mce-fragment=\"1\"\u003eAm ersten Weihnachtsfeiertag\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e10-23. II. TEIL – Und es waren Hirten in derselben Gegend 27’03\u003cbr data-mce-fragment=\"1\"\u003eAm zweiten Weihnachtsfeiertag\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e24-36. III. TEIL – Herrscher des Himmels, erhöre das Lallen 22’45\u003cbr data-mce-fragment=\"1\"\u003eAm dritten Weihnachtsfeiertag\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e1-7. IV. TEIL – Fallt mit Danken, fallt mit Loben 21’42\u003cbr data-mce-fragment=\"1\"\u003eAm Feste der Beschneidung Christi\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e8-18. V. TEIL – Ehre sei dir, Gott, gesungen 23’08\u003cbr data-mce-fragment=\"1\"\u003eAm Sonntag nach Neujahr\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e19-29. VI. TEIL – Herr, wenn die stolzen Feinde schnauben 23’14\u003cbr data-mce-fragment=\"1\"\u003eAm Feste der Erscheinung Christi\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eKatja Stuber soprano · Raffaele Pe contre-ténor\u003cbr data-mce-fragment=\"1\"\u003eMartin Platz ténor · Thomas Stimmel basse\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eLA CAPELLA REIAL DE CATALUNYA\u003cbr data-mce-fragment=\"1\"\u003eLluís Vilamajó préparation de l’ensemble vocal\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eLE CONCERT DES NATIONS\u003cbr data-mce-fragment=\"1\"\u003eManfredo Kraemer concertino\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDirection : JORDI SAVALL\u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":42507272356090,"sku":"8435408099400","price":33.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/AVSA9940COVEROratoriPREP.jpg?v=1646945273"},{"product_id":"don-quijote-de-la-mancha-romances-y-musicas-hesperion-xxi-figueras-savall","title":"DON QUIJOTE DE LA MANCHA (ROMANCES Y MUSICAS) - HESPERION XXI, FIGUERAS, SAVALL (2 Hybrid SACDs)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_522753e9-66ba-48ea-8558-b0cd53a478e3_480x480.png?v=1646166167\"\u003e\u003c\/p\u003e\n\u003cp\u003eHespèrion XXI\u003cbr data-mce-fragment=\"1\"\u003eLa Capella Reial de Catalunya\u003cbr data-mce-fragment=\"1\"\u003eJordi Savall\u003cbr data-mce-fragment=\"1\"\u003eAmid the plethora of eulogies and tributes published to mark the fourth centenary of The Quixote, few will have addressed in any depth the musical facet of Miguel de Cervantes’s genius, and still fewer will have paused to reflect that Cervantes’s literary greatness brought him as little worldly success as his hero’s greatness of spirit afforded him. Like our musicians of the past, whose memory, even in the 21st century, is still buried under the successive layers of Romanticism and Modernism, let us not forget, in the midst of all the celebrations, that Miguel de Cervantes, to whose musical dimension we now pay tribute, was not only misunderstood in the Spain in which he lived, but also disparaged and humiliated by his contemporaries.\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_80976754-e9e0-46de-b62f-ac42fe034a4c_480x480.png?v=1646155801\"\u003e\u003c\/p\u003e\n\u003cp\u003eDisco I\u003cbr\u003ePRIMERA PARTE\u003cbr\u003eI. YO SOY LA LOCURA Capítulo I\u003cbr\u003e1. Fanfarra (instrumental) Anónimo (CMP 106) 1’45\u003cbr\u003e2. Recitado: “En un lugar de la Mancha…” 0’50\u003cbr\u003e3. La Folia: Yo soy la locura Du Bailly 2’32\u003cbr\u003e\u003cbr\u003eII. PRIMERAS ANDANZAS Capítulo II\u003cbr\u003e4. Cuatro diferencias sobre las vacas Luys de Narváez 1’48\u003cbr\u003e5. Romance de Moriana: Con pavor recordó… Anónimo \/ L. Milán 9’50\u003cbr\u003e6. Recitado: “Estaban en la puerta dos mujeres…” 0’53\u003cbr\u003e7. Romance viejo de Lanzarote: Nunca fuera caballero… Anónimo 4’01\u003cbr\u003e\u003cbr\u003eIII. PRIMEROS ENTUERTOS Capítulos IV-V\u003cbr\u003e8. Recitado: “A la vista de unos mercaderes…” 1’00\u003cbr\u003e9. Recitado: “Un mozo de mulas…” 1’23\u003cbr\u003e10. Sospirastes Valdovinos Luys Milán 5’05\u003cbr\u003e11. Recitado: “Ese labrador procuró…” 1’15\u003cbr\u003e12. Romance de Abindarráez: Al campo sale… Anónimo \/ D. Pisador 8’36\u003cbr\u003e\u003cbr\u003eIV. ARDE LA BIBLIOTECA Capítulos V-VI\u003cbr\u003e13. Diferencias sobre guárdame las vacas Luys de Narváez 2’23\u003cbr\u003eRecitado: “Entraron el ama…”\u003cbr\u003e14. Romance de Don Beltrán: Los Doce Pares… Juan Vasquez 8’18\u003cbr\u003e15. Recitado: “Por tomar muchos juntos…” 0’37\u003cbr\u003e16. Adoramus te Domine (órgano) Anónimo (CMM 4) 2’41\u003cbr\u003eTirant lo Blanc: “Oh, sacratíssima Trinitat…” Joanot Martorell\u003cbr\u003e\u003cbr\u003eV. POR LOS MONTES Y SELVAS Capítulo XI\u003cbr\u003e17. Recitado: “Cenaron Don Quijote y Sancho…” 1’02\u003cbr\u003e18. Antonio: Canción para Olalla Gabriel \/ Cervantes 2’32\u003cbr\u003e\u003cbr\u003eVI. ALLÍ SOSEGADOS Y A LA SOMBRA Capítulo XXVII\u003cbr\u003e19. Recitado: “Estando, pues, el cura y el barbero allí…” 0’25\u003cbr\u003e20. Canción pastoril: ¿Quién menoscaba…? Sant Juan \/ Cervantes 3’18\u003cbr\u003e21. Recitado: “La hora, el tiempo, la soledad…” 0’27\u003cbr\u003e22. Soneto: Santa amistad que con ligeras… F. Peñalosa \/ Cervantes 3’05\u003cbr\u003e\u003cbr\u003eVII. UNA VOZ CANTA Y ENCANTA Capítulos XLII-XLIII\u003cbr\u003e23. Recitado: “Como ya la noche iba…” 0’57\u003cbr\u003e24. Canción: Marinero soy de amor Anónimo (Sefardí) \/ Cervantes 2’24\u003cbr\u003e\u003cbr\u003eSEGUNDA PARTE\u003cbr\u003eI. LLEGADA AL TOBOSO Capítulo IX\u003cbr\u003e25. Recitado: “Media noche era por filo…” 1’00\u003cbr\u003e26. Romance del Conde Claros: Media noche… Francisco Salinas 8’12\u003cbr\u003e\u003cbr\u003eDisco II\u003cbr\u003eI. LLEGADA AL TOBOSO Capítulo IX (Continuación)\u003cbr\u003e1. Pavana I (arpa) Alonso Mudarra 1’54\u003cbr\u003e2. Recitado: “Estando los dos en estas pláticas…” 0’53\u003cbr\u003e3. Romance de Guarinos: Mala la hubistes… Anónimo (CMP 106) 4’25\u003cbr\u003e4. Recitado: “Sí oigo –respondió Sancho–…” 0’15\u003cbr\u003e5. Romance de Calaínos: Ya cabalga… Anónimo \/ Valderrábano 6’56\u003cbr\u003e\u003cbr\u003eII. ROMANCES VIVOS Capítulos XXIII-XXVI\u003cbr\u003e6. Recitado: “Las cuatro de la tarde serían…” 2’16\u003cbr\u003e7. Romance del Llanto de Belerma por Durandarte:\u003cbr\u003eSobre el coraçon difunto Anónimo (CMP 109) 9’06\u003cbr\u003e8. Romanesca I (arpa) Alonso Mudarra 2’23\u003cbr\u003eRecitado: “Asistieron don Quijote y Sancho Panza…”\u003cbr\u003e9. Romance de Don Gayferos: Si d’amor… Anónimo (CMP 113) 5’43\u003cbr\u003e\u003cbr\u003eIII. LAS CUITAS DE DUEÑA DOLORIDA Capítulo XXXVIII\u003cbr\u003e10. Recitado: “Detrás de los tristes músicos…” 1’05\u003cbr\u003e11. Villancico: De la dulce mi enemiga Gabriel \/ Cervantes 2’10\u003cbr\u003e12. Recitado: “Y de este mismo jaez…” 1’28\u003cbr\u003e13. Seguidillas en eco: De tu vista celoso Anónimo (CMS 8) 3’29\u003cbr\u003e\u003cbr\u003eIV. ALTISIDORA Capítulos XLIV-XLVI\u003cbr\u003e14. Recitado: “Don Quijote mató las velas…” 0’34\u003cbr\u003e15. Romance de Altisidora: Oh tú que estás… Anónimo (CMP 121) 4’15\u003cbr\u003e16. Recitado: “Llegadas las once horas de la noche…” 0’27\u003cbr\u003e17. Romance: Suelen las fuerzas de amor A. Ribera \/ Cervantes 3’28\u003cbr\u003eCapítulo LVII\u003cbr\u003e18. Gallarda Alonso Mudarra 0’53\u003cbr\u003eRecitado: “Ya le pareció a don Quijote…”\u003cbr\u003e19. Lamento de Altisidora: “Escucha mal caballero…” 3’58\u003cbr\u003eAnónimo (s.XVII) \/ Cervantes\u003cbr\u003e\u003cbr\u003eV. EN LA ENTRADA DE BARCELONA Capítulos LXI-LXII\u003cbr\u003e20. Conde Claros Alonso Mudarra 1’54\u003cbr\u003eRecitado: “En fin, por caminos desusados…”\u003cbr\u003e21. El Villano (instrumental) Anónimo \/ A. Martín y Coll 2’05\u003cbr\u003e22. Recitado: “Llegó la noche…” 1’22\u003cbr\u003e23. Un sarao de la Chacona (Danza cantada) Joan Arañés 4’56\u003cbr\u003e\u003cbr\u003eVI. EN LA ARCADIA Capítulos LXVII-LXIX\u003cbr\u003e24. Recitado: “Era la noche algo escura…” 0’40\u003cbr\u003e25. Canción: Amor, cuando yo pienso V. de Henestrosa \/ Cervantes 2’18\u003cbr\u003e26. Recitado: “En esto comenzó a salir…” 0’36\u003cbr\u003e27. Canción: En tanto que en si vuelve… F. Guerrero \/ Cervantes 3’27\u003cbr\u003e\u003cbr\u003eVII. MORIR CUERDO Y VIVIR LOCO Capítulo LXXIV\u003cbr\u003e28. Circundederum me (órgano) Cristóbal de Morales 1’16\u003cbr\u003eRecitado: “Como las cosas humanas no sean eternas…”\u003cbr\u003e29. Requiem: Lacrimosa dies illa Anónimo 1’09\u003cbr\u003e30. Epitafio: “Yace aquí el hidalgo fuerte…” 0’29\u003cbr\u003e31. Requiem: Pie Jesu Domine Cristóbal de Morales 1’40\u003cbr\u003e\u003cbr\u003eEDICIÓN CONMEMORATIVA DE LA REAPERTURA DEL CORRAL DE COMEDIAS DE ALCALÁ DE HENARES, AÑO 2005\u003cbr\u003eIV CENTENARIO DE LA PUBLICACIÓN DE LA 1ª PARTE DE EL QUIJOTE.\u003cbr\u003e\u003cbr\u003eCOPRODUCCIÓN ALIA VOX – COMUNIDAD DE MADRID\u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":42507272585466,"sku":"7619986398433","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/AVSA9843-Don-Quijote.jpg?v=1646949495"},{"product_id":"forgotten-kingdom-hesperion-xxi-savall","title":"FORGOTTEN KINGDOM (LE ROYAUME OUBLIÉ La Tragédie Cathare) -  HESPERION XXI \/ SAVALL (SACD)","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_522753e9-66ba-48ea-8558-b0cd53a478e3_480x480.png?v=1646166167\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ela Coisade Contre les Albigeois\u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eLa Capela Reial de Catalunya\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eHespèrion XXI\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eJordi Savall\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003ePilar Jiménez Sánchez\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eManuel Forcano\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eAnne Brenon\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eMartín Alvira Cabrer\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eDavid Renaker\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eSergi Grau TorraS\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_80976754-e9e0-46de-b62f-ac42fe034a4c_480x480.png?v=1646155801\"\u003e\u003c\/p\u003e\n\u003cp\u003eCD 1 Apparition et Rayonnement du Catharisme – L’Essor de l’Occitanie ca. 950 – 1204\u003cbr\u003e\u003cbr\u003eI Aux Origines du Catharisme: Orient et Occident: 950-1099\u003cbr\u003e1\/2 Origines: Les Bogomiles- Taksim \u0026amp; Danse (Bulgare)\/De l’Orient a l’Europe: Veri dulcis in tempore (mss.1010)\u003cbr\u003e3 Premiers bûchers d’hérétiques à Orléans et à Turin: Tambours \u0026amp; Duduk\u003cbr\u003e4 Occitanie accueille les juifs d’Al Andalus : Les Trois principes, alef, mem, shin. Chant Juif sur la Cabala\u003cbr\u003e5\/6 Le Concile de Reims condamne les hérétiques (Tambours \u0026amp; Cloches). Le Paire Sant, la prière Cathare\u003cbr\u003e7 Schisme entre Rome et Constantinople. Chant byzantin. Conquête de Jérusalem par Raymond de Saint-Gilles. Fanfare de Croisade\u003cbr\u003e\u003cbr\u003eII L’Essor de l’Occitanie : 1100-1159\u003cbr\u003e8\/9 L’Occitanie miroir chrétien de l’Andalous Mawachah Chamoulo. Taksim \u0026amp; Danse arabo andalouse\u003cbr\u003e10 Bûcher du dignitaire Bogomile Basili à Constantinople. Plainte I (Duduk \u0026amp; Kaval)\u003cbr\u003e11 Le temps des Troubadours et de la “fin amour”. Pos de Chantar. Guilhem de Peitieu\u003cbr\u003e12 Aliénor d’Aquitaine divorce de Louis VII. A chantar m’er de so Comtesa Beatritz de Dia\u003cbr\u003e13\/14 Lettre d’Evervin de Steinfeld au Père Bernard. Mort de Raimon Bereguer IV. Epître récitée en Latin. Planctus: Mentem meam\u003cbr\u003e\u003cbr\u003eIII L’expansion du Catharisme : 1160-1204\u003cbr\u003e15 Bûchers à Bonn, Cologne et Mayence. “Ave generosa”. Hildegarde von Bingen\u003cbr\u003e16\/17 Concile Cathare. Bûchers collectifs: Prière cathare “Consolament”. Henry Marsiac prêche contre les Cathares\u003cbr\u003e18\/19 Pere I de Catalogne et II d’Aragon\/ Innocent III, Pape (1198-1216). A per pauc de chantar – Pèire Vidal\u003cbr\u003e20 Guilhabert de Castras ordonne Esclarmonda de Foix. Chant de la Sybille Occitane\u003cbr\u003e\u003cbr\u003eCD2 La Croisade contre les Albigeois – Invasion de l’Occitanie 1204 – 1228\u003cbr\u003eIV Vers l’affrontement: 1204-1208\u003cbr\u003e1\/3 Dispute de Carcassonne (cathares et cisterciens). Texte récité en latin. Chant spirituel Quant ai lo mon consirat.\u003cbr\u003e4 Raimond VI Comte de Tolosa est excommuniée. Molt era dous e plazens. Giraut de Bornelh.\u003cbr\u003e5 L’assassinat de Pierre de Castelnau, Légat du Pape. E l’abas de Cistels. Guillaume de Tudela, Chanson Vers 4\u003cbr\u003e6\/7 Appel à la Croisade contre les Albigeois: Texte récité \u0026amp; Cant l’apostolis saub. Guillaume de Tudela, Chanson Vers 5\u003cbr\u003e\u003cbr\u003eV La croisade contre les Albigeois : 1209-1229.\u003cbr\u003e8\/9 Siège et massacre de Béziers (20.000 morts) Fanfares et Le barnatges de Fransa. Guillaume de Tudela, Chanson Vers 21\u003cbr\u003e10 “Planh” pour la mort de Raimon Roger de Trencavel. Quascus plor e planh . Guilhem Augier Novella\/Giraut de Bornelh\u003cbr\u003e11 Siège et Massacre de Lavaur. Bûcher de 400 cathares. Lavaurs fon tan fortz vila Guillaume de Tudela, Chanson Vers 68\u003cbr\u003e12\/13 Chronique Rotense. Texte récité. Sirventes à Pere I le Catholique. Vai, Hugonet, ses bistensa Raimon de Miraval\u003cbr\u003e14 Chanson dirigé à Pere II d’Aragon. Bel m’es q’ieu chant e coindei. Raimon de Miraval\u003cbr\u003e15 Défaite de Muret et Mort de Pere I, le Catholique. Aissi cum es genser Pascors Raimon de Miraval\u003cbr\u003e16 Mort de Simon de Montfort. L’Epictafi de S. de Montfort Anonyme, Chanson Vers 208\u003cbr\u003e17 Siège de Toulouse et fin de la Croisade. D’un sirventes far. Guilhem Figueira\u003cbr\u003e\u003cbr\u003eCD 3 Persécution, diaspora et fin du Catharisme 1229 – 1463\u003cbr\u003eVI L’Inquisition; persécution des cathares et élimination du catharisme. 1230-1300\u003cbr\u003e1\/2 Grégoire IX crée l’Inquisition (Fanfare). Sirventes contre les faux Clercs. Clergue si fan pastor – Peire Cardenal\u003cbr\u003e3 Révolte, reddition et bûcher (225 cathares) à Montségur. Kaval \u0026amp; Duduk\u003cbr\u003e4 Légalisation de la torture avec la bulle Ad exstirpanda. Texte récité en latin\u003cbr\u003e5 Sirventès avec des reproches à Dieu au Dernier Jugement. Peire Cardenal ” Un sirventes novel vueill comensar”\u003cbr\u003e6\/7 Victoire des Guelfes sur les Gibelins. Stampitta. Sirventes contre les inquisiteurs. Del tot vey remaner valor – Guilhem Montanhagol\u003cbr\u003e8\/9 Reddition de Sirmione. Bûcher (200) à l’Arène de Verona: Planctus Lavandose le mane (instr.) Prière cathare Pater Noster\u003cbr\u003e10 Révolte à Carcassonne contre l’Inquisition. Sirventes contre les clercs, prédicateurs et dominicains. Tartarassa ni voutor P. Cardenal\u003cbr\u003e\u003cbr\u003eVII Diaspora vers la Catalogne et fin des Cathares orientaux. 1309-1463\u003cbr\u003e11 L’Apocalypse selon l’Evangile Cathare du Pseudo-Jean V, 4 Audi pontus, audi tellus. Anonyme mss. Las Huelgas\u003cbr\u003e12 Philippe IV expulse les juifs de France. El Rey de Francia. Anonyme (Séfarade)\u003cbr\u003e14 Prédication. Bûcher des Jacme et Guilhem Autier et d’autres cathares. Texte récité en occitan ” Il n’est pas étonnant…”\u003cbr\u003e15\/16 Guilhem Bélibaste s’exile en Catalogne et meurt sur le bûcher à Villerouge-Termenès. (1321) Planctus instrumental\u003cbr\u003e17 Alfons III, roi d’Aragon et Catalogne, dit El Benigne. Anonyme\/Dufays. “Audi, benigne”\u003cbr\u003e18 Guerre des cent ans entre France et l’Angleterre. Ballade de la Pucelle. J.Savall d’après anonyme XVe siècle\u003cbr\u003e19 Bûcher de Jeanne la Pucelle. (19 ans). Planctus O crudele suplicium. J. Savall d’après anonyme XVe siècle\u003cbr\u003e20\/21 La Fin du Catharisme Oriental Prise de Constantinople (et Bosnie en 1463). Der makām-ı Saba uşūleş Çenber \/ Plainte Kaval\u003cbr\u003e22 Lamentatio Sanctæ Eclesiæ Constantinopolitanæ de Guillaume Dufay. “O très piteulx de tout espoir fontaine”\u003cbr\u003e23 Hommage aux “Bons hommes”. Si ay perdut mon saber. J. Savall d’après Ponç d’Ortafa.\u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":42507272782074,"sku":"7619986398730","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/AVSA9873-Le-Royaume-Oublie_CC_81.jpg?v=1646951727"},{"product_id":"haydn-the-creation-le-concert-des-nations","title":"HAYDN: THE CREATION - SAVALL, LE CONCERT DES NATIONS (2 HYBRID SACDS)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_80976754-e9e0-46de-b62f-ac42fe034a4c_480x480.png?v=1646155801\"\u003e\u003c\/p\u003e\n\u003cp\u003eCD1\u003cbr data-mce-fragment=\"1\"\u003e1-15. ERSTER TEIL 36’20\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e16-20. ZWEITER TEIL 17’58\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eCD2\u003cbr data-mce-fragment=\"1\"\u003e1-7. ZWEITER TEIL (suite) 20’20\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e8-13. DRITTER TEIL 28’40\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSOLISTES\u003cbr data-mce-fragment=\"1\"\u003eGabriel \u0026amp; Ève : Yeree Suh soprano\u003cbr data-mce-fragment=\"1\"\u003eUriel : Tilman Lichdi ténor\u003cbr data-mce-fragment=\"1\"\u003eRaphaël \u0026amp; Adam : Matthias Winckhler baryton\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eLA CAPELLA REIAL DE CATALUNYA\u003cbr data-mce-fragment=\"1\"\u003ePréparation de l’ensemble vocal : Lluís Vilamajó\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eLE CONCERT DES NATIONS\u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":42507272814842,"sku":"8435408099455","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/AVSA9945-La-Creation-Haydn-web.jpg?v=1646950766"},{"product_id":"honey-blood-cycles-of-life-hesperion-xxi-savall","title":"BAL-KAN (HONEY \u0026 BLOOD): CYCLES OF LIFE - HESPERION XXI, SAVALL (3 HYBRID SACDS)","description":"\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_522753e9-66ba-48ea-8558-b0cd53a478e3_480x480.png?v=1646166167\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003eJordi Savall\u003cbr data-mce-fragment=\"1\"\u003eHespèrion XXI\u003cbr data-mce-fragment=\"1\"\u003eTo Voltaire’s statement “Without the senses there is no memory, and without memory there is no mind”, we would add that without memory and mind there is neither Justice nor Civilisation. Music is the most spiritual of all the Arts. In fact, it is the Art of Memory par excellence, which only exists when a singer or an instrumentalist brings it to life. It is then, when our senses are moved by the beauty and emotion of a song or by the surprising vitality of a dance, that, thanks to memory, we can capture it in our minds. Such intense yet fleeting moments bring peace and joy or sweetness and nostalgia to our hearts, moments that we cherish in our memory.\u003c\/p\u003e\n\u003cp\u003eIn devising and developing our programme, we invited and worked with 40 singers and musicians of various faiths: Muslim, Christian and Jewish, from 14 different countries: Armenia, Belgium\/Manouche, Bulgaria, Bosnia, Cyprus, Spain, France, Greece and Crete, Hungary, Israel, Morocco, Serbia, Syria and Turkey. Performing as soloists or in ensembles, they offer a wide selection of music belonging to many living traditions that make up the vast mosaic of musical cultures of the Balkan peoples and their Gypsy and Sephardic diasporas. To provide a poetic and well-structured listening experience, we have grouped together songs and new music under the six different headings of “Cycles of Life and Nature”. This magnificent original idea by Montserrat Figueras was developed during 2009\/2011, finally culminating in a concert programme devoted to the “CYCLES OF LIFE: The paths of the Sephardic Diaspora”, which was presented in Barcelona on 31st May, 2010, and at the Fontfroide Festival on 18th July, 2011. This dynamic structure allows the songs and instrumental pieces of the BAL · KAN project to combine and alternate in a highly organic way within the six principal parts of the programme:\u003cbr\u003e\u003cbr\u003eI. CREATION:\u003cbr\u003eUNIVERSE, ENCOUNTERS \u0026amp; DESIRES\u003cbr\u003eII. SPRING:\u003cbr\u003eBIRTH, DREAMS \u0026amp; CELEBRATIONS\u003cbr\u003eIII. SUMMER:\u003cbr\u003eENCOUNTERS, LOVE \u0026amp; MARRIAGE\u003cbr\u003eIV. AUTUMN:\u003cbr\u003eMEMORY, MATURITY \u0026amp; JOURNEY\u003cbr\u003eV. WINTER:\u003cbr\u003eSPIRITUALITY, SACRIFICE, EXILE \u0026amp; DEATH\u003cbr\u003eVI. (RE)CONCILIATION\u003cbr\u003e\u003cbr\u003eThe selection of music for\u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":42507273109754,"sku":"9788494138546","price":88.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/LlibreDisc-BalKan.jpg?v=1646953368"},{"product_id":"istanbul-dimitrie-cantemir-hesperion-xxi-savall","title":"ISTANBUL - DIMITRIE CANTEMIR: HESPERION XXI, SAVALL (SACD)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_522753e9-66ba-48ea-8558-b0cd53a478e3_480x480.png?v=1646166167\"\u003e\u003c\/p\u003e\n\u003cp\u003eHespèrion XXI\u003cbr data-mce-fragment=\"1\"\u003eJORDI SAVALL\u003cbr data-mce-fragment=\"1\"\u003eDimitrie Cantemir’s Book of the Science of Music, which has served as the historical source for our recording, is an exceptional document in many ways; first, as a fundamental source of knowledge concerning the theory, style and forms of 17th century Ottoman music, but also as one of the most interesting accounts of the musical life of one of the foremost Oriental countries. This collection of 355 compositions (including 9 by Cantemir), written in a system of musical notation invented by the author, constitutes the most important collection of 16th and 17th century Ottoman instrumental music to have survived to the present day. I first began to discover this repertory in 1999, during the preparation of our project on Isabella I of Castile, when our friend and colleague Dimitri Psonis, a specialist in Oriental music, suggested an old military march from the collection as a musical illustration of the date commemorating the conquest of Constantinople by the Ottoman armies of Mahomet II.\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_80976754-e9e0-46de-b62f-ac42fe034a4c_480x480.png?v=1646155801\"\u003e\u003c\/p\u003e\n\u003cp\u003e1. Taksim (Kanun, Vièle, Oud, Kemence et Tanbur) Improvisation\u003cbr\u003e2. Der makām-ı ‘Uzzâl uşūleş Devr-i kebīr – Mss. Dimitri Cantemir (118) Anonym (ancien)\u003cbr\u003e3. Los Paxaricos (Isaac Levy I.59) – Maciço de Rosas (I.Levy III.41) Sépharade (Turquie)\u003cbr\u003e4. Taksim (Kanun) Improvisation\u003cbr\u003e5. Der makām-ı Muhayyer uşūleş Muhammes (Mss. D.Cantemir 285) Kantemiroğlu\u003cbr\u003e6. Chant et Danse (2 Duduk et percussion) Tradition Arménienne\u003cbr\u003e7. Taksim (Oud) Improvisation\u003cbr\u003e8. Der makām-ı Hüseynī Semâ’î (Mss. D.Cantemir 268) Baba Mest\u003cbr\u003e9. El amor yo no savia (I.Levy II.80) Sépharade (Esmirna) 10. Taksim (Lira) Improvisation\u003cbr\u003e11. Der makām-ı Şūri Semâ’î (Mss. D.Cantemir 256) Anonyme (ancien)\u003cbr\u003e12. Lamento: Ene Sarére (2 Duduk) Barde Ashot (Arménien)\u003cbr\u003e13. Madre de la gracia (I. Levy III.29) Sépharade (Turquie)\u003cbr\u003e14. Taksim (Kanun, Tanbur, Santur et Oud) Improvisation\u003cbr\u003e15. Der makām-ı [Hüseynī] uşūleş Çenber (Mss. D.Cantemir 96) Edirne’li Ahmed\u003cbr\u003e16. Taksim \u0026amp; Makam «Esmkhetiet-Yis kou ghimeten-Tchim guichi» Barde Sayat Nova (Arménien)\u003cbr\u003e17. Taksim (Kanun, Tanbur et Oud) Improvisation\u003cbr\u003e18. Der makām-ı ‘Uzzâl uşūleş Berevsan (Mss. D.Cantemir 148) ‘Alí H^äce (Ali Hoca)\u003cbr\u003e19. Venturoso Mançevo (I. Levy II.58) Sépharade (Esmirna)\u003cbr\u003e20. Taksim (Kemence, Kanun, Oud et Tanbur) Improvisation\u003cbr\u003e21. Der makām-ı Hüseynī Sakīl-i Ağa Rıżā (Mss. D. Cantemir 89) Anonyme (ancien)\u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":42507274748154,"sku":"7619986398709","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/AVSA9870-ISTANBUL.jpg?v=1646952522"},{"product_id":"marais-alcione-le-concert-des-nations-savall-jordi","title":"MARAIS: ALCIONE - LE CONCERT DES NATIONS, SAVALL (3 Hybrid SACDs)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_522753e9-66ba-48ea-8558-b0cd53a478e3_480x480.png?v=1646166167\"\u003e\u003c\/p\u003e\n\u003cp\u003eThe last great “tragedy in music” of the reign of Louis XIV, Alcione, is a total spectacle at the crossroads of the seventeenth and eighteenth centuries, from which it takes the mythological source, its praise of the sovereign’s glory, and the literary requirement to combine choreography and stage movements. Jordi Savall, rediscoverer of Marais’ work, brings this creative freedom back to life for Alcione’s first stage production in Paris since 1771.\u003cbr data-mce-fragment=\"1\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_80976754-e9e0-46de-b62f-ac42fe034a4c_480x480.png?v=1646155801\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_80976754-e9e0-46de-b62f-ac42fe034a4c_480x480.png?v=1646155801\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003eCD1\u003cbr\u003e1-13. PROLOGUE 30’45\u003cbr\u003e14-33. ACTE I 29’29\u003cbr\u003e\u003cbr\u003eCD2\u003cbr\u003e1-12. ACTE II 25’41\u003cbr\u003e13-25. ACTE III 28’31\u003cbr\u003e\u003cbr\u003eCD3\u003cbr\u003e1-14. ACTE IV 29’53\u003cbr\u003e15-27. ACTE V 31’16\u003cbr\u003e\u003cbr\u003eLea Desandre (Alcione), Cyril Auvity (Ceix), Marc Mauillon (Pelée), Lisandro Abadie (Pan, Phorbas), Hasnaa Bennani (Ismène), Hanna Bayodi-Hirt (Bergère), Antonio Abete (Tmole)\u003cbr\u003e\u003cbr\u003eLE CONCERT DES NATIONS\u003cbr\u003eChœur et Orchestre\u003cbr\u003eJORDI SAVALL direction\u003cbr\u003e\u003cbr\u003eEnregistrement LIVE réalisé à l’Opéra Comique en mai 2017 par Manuel Mohino\u003cbr\u003eassisté de Harry Charlier et Ferdinand Niquet.\u003cbr\u003eMontage et Mastering SACD : Manuel Mohino (Ars Altis)\u003cbr\u003e\u003cbr\u003eAlcione est une production de l’Opéra Comique 2017\u003cbr\u003e\u003cbr\u003eTEXTES EN FRANÇAIS, ENGLISH, CASTELLANO, CATALÀ, DEUTSCH, ITALIANO\u003cbr\u003eLIVE RECORDING AVSA9939\u003cbr\u003eOpéra Comique, Paris Total : 2h51’50\u003cbr\u003eavril-mai 2017 CD1 : 60’16\u003cbr\u003eCD2 : 54’20\u003cbr\u003eCD3 : 61’14\u003cbr\u003eMARIN MARAIS\u003cbr\u003eALCIONE\u003cbr\u003eTragédie lyrique en cinq actes (1706)\u003cbr\u003eLivret : Antoine Houdar de la Motte · Version Musicale : Jordi Savall\u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":42507274911994,"sku":"8435408099394","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/AVSA9939-Alcione-Marin-Marais-Jordi-Savall.jpg?v=1646953732"},{"product_id":"masters-from-the-golden-century-sacred-music-by-capella-reial-catalunya-hesperion-xxi-savall","title":"SACRED MUSIC BY MASTERS FROM THE GOLDEN CENTURY - CAPELLA REIAL CATALUNYA, HESPERION XXI, SAVALL (3 HYBRID SACDS)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_522753e9-66ba-48ea-8558-b0cd53a478e3_480x480.png?v=1646166167\"\u003e\u003c\/p\u003e\n\u003cp\u003eLa Capella Reial de Catalunya\u003cbr data-mce-fragment=\"1\"\u003eHespèrion XX\u003cbr data-mce-fragment=\"1\"\u003eJordi Savall\u003cbr data-mce-fragment=\"1\"\u003eThe liturgy of the Dead – including the Requiem Mass, the Burial Service and the Office of the dead, properly speaking – was granted considerable importance by the Spanish ecclesiastical authorities and by the local church composers from very early times. Throughout the Middle Ages, according to the extant documentary descriptions, the death of a great Lord, such as the Count of Barcelona or the sovereign of any of the Spanish kingdoms of León, Castile, Aragon or Navarre, was usually mourned with impressive ceremonies in which the solemnity of the liturgy was often enhanced by the addition of the planctus, a kind of lengthy optional lament that was sung monophonically and of which several examples have survived.\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_80976754-e9e0-46de-b62f-ac42fe034a4c_480x480.png?v=1646155801\"\u003e\u003c\/p\u003e\n\u003cp\u003eCRISTOBAL DE MORALES; OFFICIUM DEFUNCTO\u003c\/p\u003e\n\u003cp\u003eRUMMISSA PRO DEFUNCTIS, a 5\u003c\/p\u003e\n\u003cp\u003eFRANCISCO GUERRERO: SACRAE CANTIONES\u003c\/p\u003e\n\u003cp\u003eTOMAS LUIS DE VICTORIA: CANTICA BEATAE VIRGINIS\u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":42507274977530,"sku":"7619986398679","price":32.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/AVSA9867.jpg?v=1646958058"},{"product_id":"ministriles-reales-hesperion-xx-hesperion-xxi-savall","title":"MINISTRILES REALES: HESPERION XX, HESPERION XXI, SAVALL (2 HYBRID SACDS)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_522753e9-66ba-48ea-8558-b0cd53a478e3_480x480.png?v=1646166167\"\u003e\u003c\/p\u003e\n\u003cp\u003eJordi Savall\u003cbr data-mce-fragment=\"1\"\u003eHespèrion XX-XXI\u003cbr data-mce-fragment=\"1\"\u003eOne of the most interesting new developments on the 15th and 16th century musical scene was the affirmation and development of instrumental music as an independent language, with the flourishing of new forms of musical expression based on vocal forms or improvisation and dance. Just as in 15th-16th century Italy, vocal song inspired the development of Canzoni da sonare and Madrigali passeggiati, from the middle of the 15th century, during the heyday of Alfonso V the Magnanimous’s newly installed court in Naples, the courts that had close contacts with Italian culture, such as those of Flanders and Catalonia-Aragon, saw the emergence a new and increasingly specific repertory which, during the Golden Age of the 15th and 16th centuries, was to become popular and spread throughout the Iberian peninsula and, particularly at the courts of Castile, Aragon, Catalonia and Valencia, as well as those countries where the latter maintained a political presence, such as Flanders, Naples and Sicily. At the same time, it is no mere coincidence that the first paintings and frescoes depicting early versions of the viola da gamba, one of the first typically Renaissance instruments, are to be found in various forms in the region of Valencia and Gandía, two cities which had close ties with Italian culture.\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_80976754-e9e0-46de-b62f-ac42fe034a4c_480x480.png?v=1646155801\"\u003e\u003c\/p\u003e\n\u003cp\u003eI. Villancicos y Danzas de Altas y Baixas 1450 – 1530\u003cbr\u003e\u003cbr\u003eI\u003cbr\u003e\u003cbr\u003e1. La Spagna (basse dance). Anónimo (CMM).\u003cbr\u003e2. Dit le Bourguynon. Anónimo.\u003cbr\u003e3. Quedate, Carillo (villancico). Juan del Enzina.\u003cbr\u003e4. De tous biens plaine (Chanson). H. van Ghizeghem (CMM).\u003cbr\u003e5. Collinetto. Anónimo.\u003cbr\u003e\u003cbr\u003eII\u003cbr\u003e\u003cbr\u003e6. In Exitu Israel. Anónimo (CMCo).\u003cbr\u003e7. Basse danse: Mappa mundi. Johannes Cornago.\u003cbr\u003e8. Chiave, chiave (toccata instrumental). Anónimo (CMM).\u003cbr\u003e9. Pues con sombra de tristura (villancico). Enrique (CMCo).\u003cbr\u003e10. Buenas nuevas de alegría (villancico). Anónimo (CMCo).\u003cbr\u003e11. Si de vos mi bien (villancico). Anónimo (CMCa).\u003cbr\u003eIII\u003cbr\u003e\u003cbr\u003e12. El cervel mi fa. Anónimo (CMP)\u003cbr\u003e13. Mundus Et Musica (Canon Perpetuum). Ramos de Pareja.\u003cbr\u003e14. Glosa sobre “Nunca fue pena mayor”. Belmonte (CMCo).\u003cbr\u003e15. No tenga nadie sperança (villancico). H. de Xerés (CMCo).\u003cbr\u003e16. Muy triste será mi vida (villancico). Juan Urrede (CMCo).\u003cbr\u003e\u003cbr\u003eIV\u003cbr\u003e\u003cbr\u003e17. Propinan de Melyor. Anónimo (CMCo)\u003cbr\u003e18. Fantasia. Anónimo (CMM)\u003cbr\u003e19. Danza alta. Francisco de la Torre (CMP).\u003cbr\u003e\u003cbr\u003eV\u003cbr\u003e\u003cbr\u003e20. Estas noches a tan largas (villancico). Anónimo (CMCa).\u003cbr\u003e21. O desdichado de mi (villancico). Garci Sánchez de Badajoz.\u003cbr\u003e\u003cbr\u003eVI\u003cbr\u003e\u003cbr\u003e22. Ave color vini clari. Juan Ponçe (CMP).\u003cbr\u003e23. A sombra de mis cabellos. Gabriel (CMP).\u003cbr\u003e24. Quien vos dio tal señorío? (villancico). J. de Triana (CMCo).\u003cbr\u003e\u003cbr\u003eVII\u003cbr\u003e\u003cbr\u003e25. Un niño nos es nacido (villancico). Anónimo (CMCa).\u003cbr\u003e26. Viva el gran Re Don Fernando. Carlo Verardi.\u003cbr\u003e27. Vive le Roy. Josquin des Prés.\u003cbr\u003e28. La Spagna, a 5. Josquin des Prés.\u003cbr\u003e\u003cbr\u003eII. Fantasías, Diferencias y Batallas 1530 – 1690\u003cbr\u003e\u003cbr\u003eI\u003cbr\u003e\u003cbr\u003e1. Mortal tristura me dieron (villancico). Juan del Enzina.\u003cbr\u003e2. Diferencias sobre las vacas. Anónimo (CMMe).\u003cbr\u003e3. Pavana “La Battaglia” per sonar. Clement Janequin.\u003cbr\u003e4. La Moresca. Pedro Guerrero (CMMe).\u003cbr\u003e\u003cbr\u003eII\u003cbr\u003e\u003cbr\u003e5. Passamezzo Moderno III, 1553.Diego Ortiz.\u003cbr\u003e6. Romanesca VII. Diego Ortiz\u003cbr\u003e7. Tiento III Primer tono. Antonio de Cabezón.\u003cbr\u003e8. Glosas sobre “Hermosa Catalina”. Francisco Guerrero.\u003cbr\u003e\u003cbr\u003eIII\u003cbr\u003e\u003cbr\u003e9. O voy. Román.\u003cbr\u003e10. Buelbe tus claros ojos (villancico). Anónimo (CMMe).\u003cbr\u003e11. Diferencias sobre “La Dama le demanda”. A. de Cabezón.\u003cbr\u003e12. « Susana un jur » (Glosa). H. de Cabezón (CMMe).\u003cbr\u003e\u003cbr\u003eIV\u003cbr\u003e\u003cbr\u003e13. Pavana – Gallarda. Lluís del Milà.\u003cbr\u003e14. Fantasía VIII. Lluís del Milà\u003cbr\u003e15. Jam lucis orto sidere. Orlando di Lasso.\u003cbr\u003e16. Ensalada. S. Aguilera de Heredia.\u003cbr\u003e\u003cbr\u003eV\u003cbr\u003e\u003cbr\u003e17. Himno XVI. Antonio de Cabezón (CMMe.\u003cbr\u003e18. Batalla de Morales. F. Correa de Arrauxo.\u003cbr\u003e\u003cbr\u003eVI\u003cbr\u003e\u003cbr\u003e19. Omnes de Saba venient. Orlando di Lasso.\u003cbr\u003e20. Tiento de Batalla. S. Aguilera de Heredia.\u003cbr\u003e\u003cbr\u003eVII\u003cbr\u003e\u003cbr\u003e21. Alme Deus, qui cuncta tenes. Orlando di Lasso.\u003cbr\u003e22. Batalla Imperial. Joan Cabanilles \/ (J.C. Kerll).\u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":42507275043066,"sku":"7619986398648","price":22.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/AVSA9864-Ministriles-Reales.jpg?v=1646957897"},{"product_id":"symphony-no-3-coriolan-overture-beethoven-savall-jordi","title":"BEETHOVEN: SYMPHONY NO.3; CORIOLAN OVERTURE - SAVALL, LE CONCERT DES NATIONS (HYBRID SACD)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_522753e9-66ba-48ea-8558-b0cd53a478e3_480x480.png?v=1646166167\"\u003e\u003c\/p\u003e\n\u003cp\u003eLe Concert des Nations\u003cbr data-mce-fragment=\"1\"\u003eDirecció: Jordi Savall\u003cbr data-mce-fragment=\"1\"\u003eSimfonia Nr.3 “Eroica” Op. 55\u003cbr data-mce-fragment=\"1\"\u003eCoriolan Ouverture Op. 62\u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":42507275600122,"sku":"8435408099165","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/3316904.jpg?v=1646954759"},{"product_id":"voice-of-emotion-figueras","title":"MONTSERRAT FIGUERAS: VOICE OF EMOTION (HYBRID SACD)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_522753e9-66ba-48ea-8558-b0cd53a478e3_480x480.png?v=1646166167\"\u003e\u003c\/p\u003e\n\u003cp\u003eMonsterrat Figueras\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003eBy the early seventies, the need for a clear break with romantic tradition had been established, and it was now obvious that vocal Early Music needed a new stylistic and technical approach to vocal performance, similar to the one that was already being applied to its instrumental counterpart. This was the time when a few young singers involved in this search began to attract the attention of both critics and the general audience, and amongst them Montserrat Figueras soon rose to be acclaimed as one of the most fascinating exponents of this new attitude.\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_80976754-e9e0-46de-b62f-ac42fe034a4c_480x480.png?v=1646155801\"\u003e\u003c\/p\u003e\n\u003cp\u003eCD1\u003cbr\u003e\u003cbr\u003e1. Médée – Sénèque: I. Nunc iam cessit pontus\u003cbr\u003e2. Anon. Berbère: Berceuse Amazigh\u003cbr\u003e3. Anon. Sépharade: Palestina hermoza y Santa\u003cbr\u003e4. L. Milán: Triste estaba muy quexosa\u003cbr\u003e5. F. Guerrero (Attribué à): Si la noche haze escura\u003cbr\u003e6. A. Mudarra: Isabel, perdiste la tu faxa\u003cbr\u003e7. C. Di Rore\/Bovicelli: Anchor che co’l partire\u003cbr\u003e8. L. de Vega\/Anonyme: Como retumban los remos!\u003cbr\u003e9. T. L. de Victoria: Salve, Regina à 8\u003cbr\u003e10. C. Monteverdi: Lamento della ninfa\u003cbr\u003e11. G. Caccini: Con le luci d’un bel ciglio\u003cbr\u003e12. T. Merula: Hor ch’è tempo di dormire\u003cbr\u003e13. J. Hidalgo: Ay que me río de amor\u003cbr\u003e14. S. Durón: Sosieguen descansen\u003cbr\u003e15. J.F. Reichardt: Dors mon enfant\u003cbr\u003e16. F. Sor: Ti ricordi che giurasti\u003cbr\u003e17. F. Sor: Las Mujeres y cuerdas\u003cbr\u003e18. M.P. Musorgsky: Avec la poupée\u003cbr\u003e19. A. Pärt: Berceuse de Noël\u003cbr\u003e\u003cbr\u003eCD2\u003cbr\u003e\u003cbr\u003e1. Anon. Séfardite: Por que llorax blanca niña\u003cbr\u003e2. Alfonso X El Sabio: Sibila Galaica (extrait)\u003cbr\u003e3. Comtessa de Dia: A chantar m’er de so\u003cbr\u003e4. El Misteri d’Elx: O arbre sanct\u003cbr\u003e5. Anon.(CMC) s. XV: Niña y viña\u003cbr\u003e6. Anon.\/L. de NarvaeZ: Con qué la lavaré\u003cbr\u003e7. Anon.(CMC) s. XV: Yo me soy la morenica\u003cbr\u003e8. T.L. de Victoria: Ne timeas, Maria (a 4)\u003cbr\u003e9. L. Luzzaschi: Aura soave\u003cbr\u003e10. C. Monteverdi: Si dolce è il tormento\u003cbr\u003e11. G. Caccini: Alme luci beate\u003cbr\u003e12. T. Merula: Sentirete una canzonetta\u003cbr\u003e13. J. Marín: No piense Menguilla ya\u003cbr\u003e14. J. Hidalgo: Trompicávalas amor\u003cbr\u003e15. Trad. Catalan\/J.Savall: El Fill del rei\u003cbr\u003e16. J. Cererols: Hei mihi\u003cbr\u003e17. M. de Falla: Duérmete, niño, duerme\u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":42507275731194,"sku":"7619986398891","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/AVSA9889-La-Voix-de-lemotion.jpg?v=1646956499"},{"product_id":"war-peace-1614-1714-guerre-paix-savall-jordi","title":"WAR \u0026 PEACE 1614-1714 -  SAVALL,, LE CONCERT DES NATIONS (2 HYBRID SACDS)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_522753e9-66ba-48ea-8558-b0cd53a478e3_480x480.png?v=1646166167\"\u003e\u003c\/p\u003e\n\u003cp\u003eJordi Savall\u003cbr data-mce-fragment=\"1\"\u003ela Capella Reial de Catalunya\u003cbr data-mce-fragment=\"1\"\u003eLe Concert des Nations\u003cbr data-mce-fragment=\"1\"\u003eHespèrion XXI\u003cbr data-mce-fragment=\"1\"\u003eIn this new CD-Book War \u0026amp; Peace in Europe in the Age of the Baroque, we evoke through music the great century which preceded the end of the War of the Spanish Succession in 1714: a rich musical fresco and an in-depth historical review of a very brief but highly representative period in the history of Europe and its conflicts. From the Ottomans’ attack on Hungary in 1613, the Massacre of the Jews in Frankfurt in 1614 and the beginning of the Thirty Years War, to the Peace Treaty of Utrecht and the fall of Barcelona, we can see the extent of this unremitting tragedy of European civilization: the widespread use of the “culture of war” as the principal means of settling cultural, religious, political and territorial differences. This inventory of the long, sad succession of confrontations, wars, invasions, attacks, massacres, aggressions, sacking and fighting between peoples and ethnic groups throughout the history of mankind (in this case in Europe), teaches us that it is both necessary and urgent to acquire new ways of relating to each another if we are to reconcile differences in a world that is fertile in action, word and thought.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":42507275763962,"sku":"9788494138577","price":49.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/Llibre-Disc-Guerre-et-Paix-PETIT.jpg?v=1646956413"},{"product_id":"ibn-battuta-the-traveler-of-islam-hesperion-xx-jordi-savall-2-hybrid-sacds","title":"Ibn Battuta: The Traveler Of Islam - Hesperion XX, Jordi Savall (2 Hybrid SACDS)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_522753e9-66ba-48ea-8558-b0cd53a478e3_480x480.png?v=1646166167\"\u003e\u003c\/p\u003e\n\u003cp\u003eAccording to Islam’s earliest prophetic tradition, travel as training and a source of knowledge was advocated by the prophet Mohammed himself; he urged believers to travel far and wide in their search for wisdom and knowledge. One of the quotations attributed to him is “Seek knowledge even unto China.” The reader of Ibn Battuta’s fascinating travelogue discovers and experiences the full character of this literary genre, the “rihla”, which designates both the journey and the narrative of that journey. The genre can be traced back to the writings of Ibn Jubayr (1145-1217), the first great Muslim traveller from al-Andalus (Xativa, Valencia).\u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":42516701118714,"sku":"9788494631122","price":45.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/3600180-2623234.jpg?v=1647020337"},{"product_id":"corelli-telemann-rameau-le-concert-spirituel-savall-le-concert-des-nations-hybrid-sacd","title":"CORELLI - TELEMANN - RAMEAU: LE CONCERT SPIRITUEL - SAVALL, LE CONCERT DES NATIONS (HYBRID SACD)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_522753e9-66ba-48ea-8558-b0cd53a478e3_480x480.png?v=1646166167\"\u003e\u003c\/p\u003e\n\u003cp\u003eThe 'Concert Spirituel' was one of the first public concert series in existence, running in Paris from 1725 to 1790. The series was founded to provide entertainment during religious holidays when the other spectacles (the Paris Opera, Comedie-Francaise, and Comedie-Italienne) were closed. The programs featured a mixture of sacred choral works and virtuosic instrumental pieces, and for many years took place in a magnificently decorated Salle des Cent Suisses (Hall of the Hundred Swiss Guards) in the Tuileries Palace. Jordi Savall brings these magnificent evenings back to life, thanks to an imaginary 'Concert Sprituel' program featuring three major composers from three major European countries: Corelli, Telemann and Rameau. The varied instrumental formations highlight flute, viola da gamba and strings.\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_80976754-e9e0-46de-b62f-ac42fe034a4c_480x480.png?v=1646155801\"\u003e\u003c\/p\u003e\n\u003cp\u003eARCANGELO CORELLI (1653-1713)\u003cbr\u003eConcerto Grosso, en Re Majeur Op. 6, núm. 4\u003cbr\u003e1-2 Adagio-Allegro\u003cbr\u003e3 Adagio\u003cbr\u003e4 Vivace\u003cbr\u003e5-6 Allegro-Allegro\u003cbr\u003e\u003cbr\u003eGEORG PHILIPP TELEMANN (1681-1767)\u003cbr\u003eOuverture avec la Suite en Ré Majeur\u003cbr\u003epour Viola da Gamba et Cordes TWV 55:D6\u003cbr\u003e7 Ouverture\u003cbr\u003e8 La Trompette\u003cbr\u003e9 Sarabande\u003cbr\u003e10 Rondeau\u003cbr\u003e11 Bourrée\u003cbr\u003e12 Courante-Double\u003cbr\u003e13 Gigue\u003cbr\u003e\u003cbr\u003eGEORG PHILIPP TELEMANN\u003cbr\u003eCONCERTO IN LA MINORE\u003cbr\u003eper Flauto Dolce, Viola di Gamba, Corde e Fondamento TWV 52:a1\u003cbr\u003e14-15 Grave-Allegro\u003cbr\u003e16 Dolce\u003cbr\u003e17 Allegro\u003cbr\u003e\u003cbr\u003eGEORG PHILIPP TELEMANN\u003cbr\u003eOUVERTURE AVEC LA SUITE EN MI MINEUR, TAFELMUSIK\u003cbr\u003eà deux flûtes et cordes (première production) TWV 55:e1\u003cbr\u003e18 Ouverture: Lentement – Vite – Lentement\u003cbr\u003e19 Réjouissance\u003cbr\u003e20 Rondeau\u003cbr\u003e21 Loure\u003cbr\u003e22 Passepied\u003cbr\u003e23 Air; un peu vivement\u003cbr\u003e24 Gigue\u003cbr\u003e\u003cbr\u003eJEAN-PHILIPPE RAMEAU (1683-1764)\u003cbr\u003eLes Indes Galantes. Suites des airs à Jouer (Symphonies)\u003cbr\u003e25 Air pour les guerriers portans les Drapeaux\u003cbr\u003e26 Air pour les Amants qui suivent Bellone Lent, tendrement-Vite\u003cbr\u003e27 Orage\u003cbr\u003e28 Air pour les Esclaves Africains\u003cbr\u003e29 Air pour Borée et la Rose Très vite\u003cbr\u003e30 2eme. Air pour Zéphire\u003cbr\u003e31 Tambourins I et II\u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":42516736901370,"sku":"7619986398778","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/1681091.jpg?v=1647021293"},{"product_id":"handel-messiah-savall-le-concerts-des-nations-2-hybrid-sacds","title":"HANDEL: MESSIAH - SAVALL, LE CONCERTS DES NATIONS (2 HYBRID SACDS)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_522753e9-66ba-48ea-8558-b0cd53a478e3_480x480.png?v=1646166167\"\u003e\u003c\/p\u003e\n\u003cp\u003eAll the wonderfully diverse features of Baroque expression and vocal and instrumental declamation are present in Handel’s Messiah. It is a sublime musical meditation which transcends simple narrative, going beyond the reality of Jesus to the mystery of Creation itself and Redemption in a three-fold reflection on the struggle between Light and Darkness, the redemption of Humanity, and the relationship between God and Man.\u003c\/p\u003e\n\u003cp\u003e Rachel Redmond (soprano), Damien Guillon (counter tenor), Nicholas Mulroy (tenor), Matthias Winckhler (bass)\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eCapella Reial de Catalunya, Concert des Nations, Jordi Savall\u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":42516787495162,"sku":"8435408099363","price":45.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/3752509-2622258.jpg?v=1647023149"},{"product_id":"musica-nova-harmony-des-nations-savall-hesperion-xx-hybrid-sacd","title":"MUSICA NOVA: HARMONY DES NATIONS - SAVALL, HESPERION XX (HYBRID SACD)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_522753e9-66ba-48ea-8558-b0cd53a478e3_480x480.png?v=1646166167\"\u003e\u003c\/p\u003e\n\u003cp\u003ePerhaps it all goes back to one dark winter’s night of the incipient and hope-filled year of 1400, at the dawn of a century that had just begun. A century which was soon to unravel the marvellous stories and odysseys of a newly rediscovered millennial civilization, an ancient era when philosophers taught wisdom and humanity, when the music of Orpheus could tame even the most savage of beasts. In the midst of so many novelties and marvels, it is no wonder that minstrels aspired to a new, more expressive and richer sound, to create a musica nova, or a new music, that came from a single instrument combining the love song of the old vihuela de arco or bowed fiddle, the rebab or troubadour’s rebec, and the sweet sounds of the Moorish lute, with its potential for beautiful harmonies and joyful rhythms, which gave way to the vihuela de mano in the wake of the successive expulsions of the Jews in 1492 and the Moriscos in 1609.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“this is an immensely enjoyable listen, its music both ravishing and substantial in the hands of these experienced performers. Savall makes no attempt to hide that they have recorded most of its music before, instead identifying the project as an excuse to celebrate over 50 years of working with it. Thus the best way to consume it is to sit back, treat it as the concert it once was and revel in the sound of viols, lute and percussion played with beauty and wisdom, and in perfect balance.” - GRAMOPHONE\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_80976754-e9e0-46de-b62f-ac42fe034a4c_480x480.png?v=1646155801\"\u003e\u003c\/p\u003e\n\u003cp\u003e1500 DANZE VENEZIANE1-4. Anonimo Pavana del Re – Galliarda la Traditora – El Todescho – Saltarello 6’061540 MUSICA NOVA5. Hieronimus Parabosco Ricercare XIV « Da Pacem » 2’161589 RICERCARI \u0026amp; CAPRICCI6. Giovanni Battista Grillo Capriccio V 2’277. Andrea Gabrieli Ricercar VII 2’381612 ELIZABETHAN \u0026amp; JACOBEAN CONSORT MUSIC8. John Dowland Lacrimae Pavan 3’439. John Dowland The King of Denmark Galliard 1’3210. Orlando Gibbons In Nomine a 4 2’2111. William Brade Ein Schottisch Tanz 2’531621 LUDI MUSICI. HAMBURG12-15. Samuel Scheidt Paduan V – Courant Dolorosa –Allemande XVI – Galliard Battaglia XXI 13’181644 CORONA MELODICA16. Biagio Marini Passacaglia à 4 3’111673 LA CETRA17. Giovanni Legrenzi Sonata sesta a 4 Viole da gamba 5’421680 LE CONCERT DE VIOLES À LA COUR DE LOUIS XIVMarc-Antoine Charpentier Concert pour quatre Violes (H.545)18-23. Prélude – Allemande – Rondeau – Gigue anglaise – Gigue française – Passecaille 21’241680-1700 FOLÍAS \u0026amp; DANZAS IBÉRICAS24. Pedro de San Lorenzo Folia (Obra de 1er Tono, N. 10) 3’3225. Pedro de Araujo Consonancias de 1º Tom 2’5626. Joan Cabanilles Corrente italiana 3’16\u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":42516796834042,"sku":"8435408099264","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/3480879-2622250.jpg?v=1647023423"},{"product_id":"in-excelsis-deo-in-the-time-of-the-war-of-the-spanish-succession-savall-les-concert-des-nations-hybrid-sacd","title":"IN EXCELSIS DEO (in the Time of the War of the Spanish Succession) - SAVALL, LES CONCERT DES NATIONS (HYBRID SACD)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_522753e9-66ba-48ea-8558-b0cd53a478e3_480x480.png?v=1646166167\"\u003e\u003c\/p\u003e\n\u003cp\u003eA, two Masses, Missa “Scala Aretina” à quatre chœurs by the Catalan composer Francesc Valls (1671-1747) and Messe à deux chœurs et deux orchestres by the French composer Henry Desmarest (1661-1741), are presented side by side: two exceptional master-pieces which are linked in time and by the history of the nascent 18th century, but which are less well known than they deserve to be by today’s 21st century audiences.\u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":42516803223802,"sku":"8435408099240","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/AVSA9924INEXCELSISDEO.jpg?v=1647023663"},{"product_id":"bach-markus-passion-savall-le-concert-des-nations-2-hybrid-sacds","title":"BACH: MARKUS PASSION - SAVALL, LE CONCERT DES NATIONS (2 HYBRID SACDS)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_522753e9-66ba-48ea-8558-b0cd53a478e3_480x480.png?v=1646166167\"\u003e\u003c\/p\u003e\n\u003cp\u003eJOHANN SEBASTIAN BACH\u003cbr data-mce-fragment=\"1\"\u003e(1685-1750)\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSt. Mark Passion (BWV 247)\u003cbr data-mce-fragment=\"1\"\u003ePicander’s 1732 libretto. Final version of the 1744 libretto\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eComplete revision by Jordi Savall on the basis of research, reconstructions and adaptations for the choruses and recitatives proposed by Alexander Grychtolik\u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":42516824228090,"sku":"8435408099318","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/3649919-2622254.jpg?v=1647024590"},{"product_id":"ortiz-recercadas-del-tratado-de-glosas-hybrid-sacd","title":"ORTIZ: Recercadas del Tratado de Glosas (Hybrid SACD)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_522753e9-66ba-48ea-8558-b0cd53a478e3_480x480.png?v=1646166167\"\u003e\u003c\/p\u003e\n\u003cp\u003eJORDI SAVALL\u003cbr\u003eTon Koopman\u003cbr\u003eRolf Lislevand\u003cbr\u003eAndrew Laurence-King\u003cbr\u003eOn 10th December, 1553, at one of the highpoints in the Golden Age of Spanish music, there appeared in Rome the TRATTADO DE GLOSAS SOBRE CLAUSULAS Y OTROS GENEROS DE PUNTOS EN LA MUSICA DE VIOLONES NUEVAMENTE PUESTOS EN LUZ by Diego Ortiz, who was also known under the name “el Toledano”. An inevitable reference point for the study of instrumental performance practice in the 16th century, this work is of exceptional interest, both for its purely historical significance and for its artistic value, since it contains the finest examples of the known repertoire for viola da gamba (vihuela de arco or violone) and harpsichord in the Renaissance period.\u003c\/p\u003e\n\u003cp\u003ePublished in Rome in 1553 and rediscovered during the twentieth century, the collection Tratado de Glosas by Spanish composer Diego Ortiz offers listeners an unmatched panorama of the instrumental music of it's time. The reissue of this 1990 album in Alia Vox's Heritage series of SACD remasters enables US to enjoy one of Jordi Savall's finest accomplishments as an instrumentalist. He is joined by Ton Koopman on harpsichord and organ, Lorenz Duftschmid on violone, Rolf Lislevand on vielle, Paolo Pandolfo playing viol and the great harp virtuoso Andrew Lawrence-King.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":42516857454842,"sku":"7619986398990","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/2357804.jpg?v=1647025814"},{"product_id":"vivaldi-judith-triumphans-savall-les-concert-des-nations-2-hybrid-sacds","title":"VIVALDI: JUDITH TRIUMPHANS - SAVALL, LES CONCERT DES NATIONS (2 HYBRID SACDS)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_522753e9-66ba-48ea-8558-b0cd53a478e3_480x480.png?v=1646166167\"\u003e\u003c\/p\u003e\n\u003cp\u003eJuditha Triumphans is the only survivor of the four oratorios that Vivaldi is known to have composed. The work was commissioned to celebrate the victory of the Republic of Venice over the Turks during the siege of Corfu. The oratorio marks the climax of Vivaldi's vocal production. The great beauty of it's arias and choral parts, the compact dramatic quality of it's recitatives and the richness of instrumentation all single it out as one of the most intense and fascinating examples of the genre. As you have come to expect from Jordi Savall, the booklet is lavishly illustrated and contains the full libretto translated in six languages.\u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":42516906541306,"sku":"8435408099356","price":46.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/3735115-2622257.jpg?v=1647027094"},{"product_id":"couperin-les-apotheoses-jordi-savall-hopkinson-smith-monica-huggett-and-others-hybrid-sacd","title":"COUPERIN: Les Apothéoses - Jordi Savall, Hopkinson Smith, Monica Huggett and others (Hybrid SACD)","description":"\u003cp\u003eCouperin is too easily seen as the tender, graceful and somewhat melancholy composer, whose soft-toned palette was the same as that which served the brush of Watteau. There was another Couperin who was a master of humour and whose claws were sharp. And yet another who was a musician involved in the aesthetic battles of this time and in the avant-garde. There were great battles, like the one to which the lovers of Italy rallied, and which led him to write, at the age of twenty-two or twenty-four, the first sonatas to appear in France. There were skirmishes, like that in which the sworn masters of the guild of minstrels opposed the royal musicians. In each case we find him participating zealously and actively – but also translating his own positions into music with his characteristic skill and lighthearted humour.\u003c\/p\u003e\n\u003cp\u003eLE PARNASSE OU L’APOTHÉOSE DE CORELLI\u003cbr\u003eGrande Sonade, en Trio\u003cbr\u003e\u003cbr\u003e1.Corelli au piéd du Parnasse\u003cbr\u003e2.Corelli, charmé de la bonne réception\u003cbr\u003e3.Corelli buvant à la Source D’Hypocrêne\u003cbr\u003e4.Enthouziasme de Corelli\u003cbr\u003e5.Corelli, aprés son Enthouziasme\u003cbr\u003e6.Les Muses reveillent Corelli\u003cbr\u003e5.Remerciment de Corelli (gayement)\u003cbr\u003eCONCERT INSTRUMENTAL SOUS LE TITRE D’APOTHEOSE\u003cbr\u003eComposé à la mémoire immortelle\u003cbr\u003ede l’incomparable Monsieur de Lully\u003cbr\u003e\u003cbr\u003e1.Lully aux Champs Elysés\u003cbr\u003e2.Air pour les mêmes (gracieusement)\u003cbr\u003e3.Vol de Mercure aux Champs Elysés\u003cbr\u003e4.Descente d’Apollon\u003cbr\u003e5.Rumeur souteraine\u003cbr\u003e6.Plaintes des mêmes\u003cbr\u003e7.Enlévement de Lulli au Parnasse\u003cbr\u003e8.Acueil entre doux et agard\u003cbr\u003e9.Remerciment de Lulli à Apollon\u003cbr\u003e10.Apollon persuade Lulli et Corelli\u003cbr\u003e11.Air léger pour deux violons\u003cbr\u003e12.Corelli, aprés son Enthouziasme\u003cbr\u003e13.Second air. Corelli\u003cbr\u003e14.La Paix du Parnasse (gayement)\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e Monica Huggett, Chiara Banchini violons\u003cbr\u003eTon Koopman clavecin\u003cbr\u003eHopkinson Smith théorbe · Bernard Hervé récitant\u003cbr\u003eJordi Savall basse de viole et direction\u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":42516929380602,"sku":"8435408099448","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/3993457-2747784.jpg?v=1647027498"},{"product_id":"berlioz-romeo-et-juliette","title":"BERLIOZ: ROMEO ET JULIETTE - San Francisco Symphony, Tilson-Thomas (2 Hybrid SACDs)","description":"\u003cbr data-mce-fragment=\"1\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_94cd161d-b5f2-42b6-8234-ac3110505111_480x480.png?v=1654314702\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_94cd161d-b5f2-42b6-8234-ac3110505111_480x480.png?v=1654314702\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eRoméo Et Juliette Op. 17, H. 79, Pt. 1: Introduction and Prologue\u003cbr data-mce-fragment=\"1\"\u003eRoméo Et Juliette Op. 17, H. 79, Pt. 2: Roméo Alone - Festivity at the Capulets'\u003cbr data-mce-fragment=\"1\"\u003eRoméo Et Juliette Op. 17, H. 79, Pt. 2: The Capulets' Garden - Love Scene\u003cbr data-mce-fragment=\"1\"\u003eRoméo Et Juliette Op. 17, H. 79, Pt. 2: Scherzo - Queen Mab\u003cbr data-mce-fragment=\"1\"\u003eRoméo Et Juliette Op. 17, H. 79, Pt. 3: Second Prologue - Juliet's Funeral Cortege\u003cbr data-mce-fragment=\"1\"\u003eRoméo Et Juliette Op. 17, H. 79, Pt. 3: Roméo in the Tomb of the Capulets\u003cbr data-mce-fragment=\"1\"\u003eRoméo Et Juliette Op. 17, H. 79, Pt. 3: Finale - Brawl Between the Capulets and the Montagues\u003cbr data-mce-fragment=\"1\"\u003eRoméo Et Juliette Op. 17, H. 79, Pt. 3: Finale - Friar Laurence's Recitative and Aria\u003cbr data-mce-fragment=\"1\"\u003eRoméo Et Juliette Op. 17, H. 79, Pt. 3: Finale - Oath of Reconciliation","brand":"San Francisco Symphony","offers":[{"title":"Default Title","offer_id":42821913084154,"sku":"821936007426","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/813JN3nRqPL._SL1500.jpg?v=1654316274"},{"product_id":"berg-violin-cto-seven-early-songs-3-pieces","title":"BERG: VIOLIN CONCERTO; SEVEN EARLY SONGS \u0026 3 PIECES, OP. 6 - Gil Shaham, Susanna Phillips, San Francisco Symphony, Tilson-Thomas (Hybrid SACD)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_a5dcf294-f51a-49fc-9eb4-d0541f3a0b05_480x480.png?v=1654314595\"\u003e\u003c\/p\u003e\n\u003cp\u003eMichael Tilson Thomas and the San Francisco Symphony illuminate the gorgeously evocative world of Alban Berg in the newest release from the Grammy Award-winning SFS Media label. Hear the heartbreaking pathos of Berg's Violin Concerto brought to life by Gil Shaham; the soaring, multicolored Seven Early Songs performed by acclaimed soprano Susanna Phillips; and the spellbinding Three Pieces for Orchestra, in which the composer solidified his reputation as a master of spacious expression. This is album is available February 26, 2021 as a studio master-quality SACD, as digital download, and via streaming. To learn more about this groundbreaking recording please visit www. Sfsymphony. org\/berg\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_94cd161d-b5f2-42b6-8234-ac3110505111_480x480.png?v=1654314702\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_94cd161d-b5f2-42b6-8234-ac3110505111_480x480.png?v=1654314702\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e1 Violin Concerto: Andante-Allegretto\u003cbr data-mce-fragment=\"1\"\u003e2 Violin Concerto: Allegro-Adagio\u003cbr data-mce-fragment=\"1\"\u003e3 Seven Early Songs: Nacht\u003cbr data-mce-fragment=\"1\"\u003e4 Seven Early Songs: Schilflied\u003cbr data-mce-fragment=\"1\"\u003e5 Seven Early Songs: Die Nachtigall\u003cbr data-mce-fragment=\"1\"\u003e6 Seven Early Songs: Traumgekrönt\u003cbr data-mce-fragment=\"1\"\u003e7 Seven Early Songs: Im Zimmer\u003cbr data-mce-fragment=\"1\"\u003e8 Seven Early Songs: Liebesode\u003cbr data-mce-fragment=\"1\"\u003e9 Seven Early Songs: Sommertage\u003cbr data-mce-fragment=\"1\"\u003e10 Three Pieces for Orchestra, Op. 6: I. Präludium\u003cbr data-mce-fragment=\"1\"\u003e11 Three Pieces for Orchestra, Op. 6: II. Reigen\u003cbr data-mce-fragment=\"1\"\u003e12 Three Pieces for Orchestra, Op. 6: III. Marsch\u003c\/p\u003e","brand":"San Francisco Symphony","offers":[{"title":"Default Title","offer_id":42821913510138,"sku":"821936009024","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/3935593-2670201.jpg?v=1654315910"},{"product_id":"from-the-diary-of-anne-frank-meditations-on-rilk","title":"TILSON-THOMAS: FROM THE DIARY OF ANNE FRANK \u0026 MEDITATIONS ON RILKE - San Francisco Symphony, Michael Tilson-Thomas (2 Hybrid SACDs)","description":"\u003cp\u003e\u003cimg data-mce-fragment=\"1\" alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_a5dcf294-f51a-49fc-9eb4-d0541f3a0b05_480x480.png?v=1654314595\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_a5dcf294-f51a-49fc-9eb4-d0541f3a0b05_480x480.png?v=1654314595\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn celebration of Michael Tilson Thomas' 25th and final year as Music Director of the San Francisco Symphony, SFS Media presents the premiere recordings of MTT's first and most recent compositions for voice and orchestra. MTT's From the Diary of Anne Frank and Meditations on Rilke feature narrator Isabel Leonard, mezzo-soprano Sasha Cooke, and bass-baritone Ryan McKinny. Inspired by and based on the words and compassionate spirit of Anne Frank, From the Diary of Anne Frank opens with a flourish and culminates in a solemn yet hopeful vision for the future. Meditations on Rilke takes listeners on an emotional and evocative journey befitting the lyrical sweep of Rainer Maria Rilke's poems. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cimg data-mce-fragment=\"1\" alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_94cd161d-b5f2-42b6-8234-ac3110505111_480x480.png?v=1654314702\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_94cd161d-b5f2-42b6-8234-ac3110505111_480x480.png?v=1654314702\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e- Disc 1 -\u003c\/p\u003e\n\u003cp\u003eFrom the Diary of Anne Frank\u003cbr data-mce-fragment=\"1\"\u003e1 Part One\u003cbr data-mce-fragment=\"1\"\u003e2 Part Two\u003cbr data-mce-fragment=\"1\"\u003e3 Part Three\u003cbr data-mce-fragment=\"1\"\u003e4 Part Four\u003cbr data-mce-fragment=\"1\"\u003e- Disc 2 -\u003c\/p\u003e\n\u003cp\u003eMeditations on Rilke\u003cbr data-mce-fragment=\"1\"\u003e1 Herbsttag\u003cbr data-mce-fragment=\"1\"\u003e2 Ich Lebe Mein Leben in\u003cbr data-mce-fragment=\"1\"\u003e3 Das Lied Des Trinkers\u003cbr data-mce-fragment=\"1\"\u003e4 Immer Wieder\u003cbr data-mce-fragment=\"1\"\u003e5 Imaginärer Lebenslauf\u003cbr data-mce-fragment=\"1\"\u003e6 Herbst\u003c\/p\u003e","brand":"San Francisco Symphony","offers":[{"title":"Default Title","offer_id":42821913706746,"sku":"821936007921","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/71pAdcl-z3L._SL1217.jpg?v=1654351304"},{"product_id":"cantata-on-the-death-of-emperor-joseph-ii-sym-2","title":"BEETHOVEN: CANTATA ON THE DEATH OF EMPEROR JOSEPH II; SYMPHONY NO. 2 - San Francisco Symphony, Tilson-Thomas (Hybrid SACD)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_a5dcf294-f51a-49fc-9eb4-d0541f3a0b05_480x480.png?v=1654314595\"\u003e\u003c\/p\u003e\n\u003cp\u003eThis powerful new recording from Michael Tilson-Thomas and the Grammy Award winning San Francisco Symphony and Chorus pairs Beethoven's colossal Cantata on the Death of Emperor Joseph II with his playful, upbeat Symphony No. 2. Rarely performed or recorded, Beethoven's gripping and profoundly moving funeral cantata proved a revelation during the Symphony's May 2013 Beethoven Project concert series. The recording features a glorious solo quartet - soprano Sally Matthews, mezzo-soprano Tamara Mumford, tenor Barry Banks and bass-baritone Andrew Foster-Williams. Presented as a premium quality hybrid multi-channel SACD, this album is the latest addition to the San Francisco Symphony's ongoing series of Beethoven recordings.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_94cd161d-b5f2-42b6-8234-ac3110505111_480x480.png?v=1654314702\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_94cd161d-b5f2-42b6-8234-ac3110505111_480x480.png?v=1654314702\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eCantata on the Death of Emperor Joseph II Sym 2\u003cbr data-mce-fragment=\"1\"\u003eCantata on the Death of Emperor Joseph II, Woo 87, I. Todt, Todt!\u003cbr data-mce-fragment=\"1\"\u003eCantata on the Death of Emperor Joseph II Sym 2\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eCantata on the Death of Emperor Joseph II, Woo 87, I. Todt, Todt!\u003cbr data-mce-fragment=\"1\"\u003eII. Ein Ungeheuer, Sein Name Fanatismus\u003cbr data-mce-fragment=\"1\"\u003eIII. Da Kam Joseph\u003cbr data-mce-fragment=\"1\"\u003eIV. Da Stiegen Die Menschen An's Licht\u003cbr data-mce-fragment=\"1\"\u003eV. Er SCHLÄFT\u003cbr data-mce-fragment=\"1\"\u003eVI. Hier Schlummert Seinen Stillen Frieden\u003cbr data-mce-fragment=\"1\"\u003eVII. Todt, Todt!\u003cbr data-mce-fragment=\"1\"\u003eSymphony No. 2 in D Major, Op. 36, I. Adagio Molto-Allegro Con Brio\u003cbr data-mce-fragment=\"1\"\u003eII. Larghetto\u003cbr data-mce-fragment=\"1\"\u003eIII. Scherzo (Allegro)\u003cbr data-mce-fragment=\"1\"\u003eIV. Allegro Molto\u003c\/p\u003e","brand":"San Francisco Symphony","offers":[{"title":"Default Title","offer_id":42821913805050,"sku":"821936005828","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/61d3_ukBGWL.jpg?v=1654318145"},{"product_id":"images-jeux-la-plus-que-lente","title":"DEBUSSY: IMAGES; JEUX; LA PLUS QUE LENTE - Tilson-Thomas, San Francisco Symphony (Hybrid SACD)","description":"\u003cbr data-mce-fragment=\"1\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_94cd161d-b5f2-42b6-8234-ac3110505111_480x480.png?v=1654314702\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_94cd161d-b5f2-42b6-8234-ac3110505111_480x480.png?v=1654314702\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eImages Pour Orchestre: I. Gigues\u003cbr data-mce-fragment=\"1\"\u003eImages Pour Orchestre: II. Ibéria: Par Les Rues Et Par Les Chemins\u003cbr data-mce-fragment=\"1\"\u003eImages Pour Orchestre: III. Ibéria: Les Parfums de la Nuit\u003cbr data-mce-fragment=\"1\"\u003eImages Pour Orchestre: IV. Ibéria: Le Matin D'un Jour de Fête\u003cbr data-mce-fragment=\"1\"\u003eImages Pour Orchestre: V. Rondes de Printemps\u003cbr data-mce-fragment=\"1\"\u003eJeux\u003cbr data-mce-fragment=\"1\"\u003eLa Plus Que Lente","brand":"San Francisco Symphony","offers":[{"title":"Default Title","offer_id":42821913936122,"sku":"821936006924","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/3452324.jpg?v=1654710521"},{"product_id":"piano-concerto-no-3-mass-in-c","title":"BEETHOVEN: PIANO CONCERTO NO. 3; MASS IN C - Emanuel Ax, San Francisco Symphony, TIlson-Thomas","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_a5dcf294-f51a-49fc-9eb4-d0541f3a0b05_480x480.png?v=1654314595\"\u003e\u003c\/p\u003e\n\u003cp\u003eEmanuel Ax (piano), Joélle Harvey (soprano), Kelley O'Connor (mezzo-soprano), William Burden (tenor), Shenyang (bass-baritone)\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSan Francisco Symphony, San Francisco Symphony Chorus, Michael Tilson Thomas\u003c\/p\u003e\n\u003cp\u003eMichael Tilson Thomas and the San Francisco Symphony serve up a sumptuous live recording of Beethoven's Piano Concerto No. 3, with acclaimed pianist Emanuel Ax, and the rarely performed Mass in C Major, with the Grammy Award-winning San Francisco Symphony Chorus.\u003cbr\u003e\u003cbr\u003eBeethoven's Piano Concerto No. 3 and Mass in C Major are two of the works that helped cement the composer's reputation as a creative genius like none other. Internationally acclaimed pianist Emanuel Ax joins Michael Tilson Thomas and the San Francisco Symphony in a dynamic rendition of Beethoven's robust Third Piano Concerto. Then, MTT leads the Grammy Award-winning SF Symphony Chorus and soloists in the rarely performed Mass in C Major.\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_94cd161d-b5f2-42b6-8234-ac3110505111_480x480.png?v=1654314702\"\u003e\u003c\/p\u003e\n\u003cp\u003eBeethoven: Piano Concerto No. 3 in C minor, Op. 37\u003cbr\u003eEmanuel Ax\u003cbr\u003eSan Francisco Symphony\u003cbr\u003eMichael Tilson Thomas\u003cbr\u003eI. Allegro con brio\u003cbr\u003e\u003cbr\u003eII. Largo\u003cbr\u003e\u003cbr\u003eIII. Rondo: Allegro\u003cbr\u003e\u003cbr\u003eBeethoven: Mass in C major, Op. 86\u003cbr\u003eJoélle Harvey, Kelley O'Connor, William Burden, Shenyang, San Francisco Symphony Chorus\u003cbr\u003eSan Francisco Symphony\u003cbr\u003eMichael Tilson Thomas\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eKyrie\u003cbr\u003eGloria\u003cbr\u003eCredo\u003cbr\u003eSanctus\u003cbr\u003eAgnus Dei\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"San Francisco Symphony","offers":[{"title":"Default Title","offer_id":42821914001658,"sku":"821936006429","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiODA3ODU4MS4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6OTAwfSwianBlZyI6eyJxdWFsaXR5Ijo2NX0sInRvRm9ybWF0IjoianBlZyJ9LCJ0aW1lc3RhbXA.jpg?v=1654718315"},{"product_id":"symphony-5-piano-concerto-4","title":"BEETHOVEN: SYMPHONY NO. 5; PIANO CONCERTO NO. 4 - Emanuel Ax, San Francisco Symphony, Tilson-Thomas (Hybrid SACD)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_a5dcf294-f51a-49fc-9eb4-d0541f3a0b05_480x480.png?v=1654314595\"\u003e\u003c\/p\u003e\n\u003cp\u003eMichael Tilson Thomas and the San Francisco Symphony follow their recently completed Mahler cycle with a series of new live recordings, including an all-Beethoven disc featuring the Fourth Piano Concerto with Emanuel Ax, and Symphony No. 5.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFollowing the recent completion of their award-winning and ground-breaking Mahler recording project, Michael Tilson Thomas and the San Francisco Symphony will continue to bolster their discography with recordings from both the core classical repertoire as well as works new to or rarely heard by audiences. The new recordings reflect the broad range of programming that has been a hallmark of the 15-year MTT\/SFS partnership. The new releases, recorded live in concert in the orchestra’s home Davies Symphony Hall, will be available as Hybrid SACDs.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe first of these new releases includes an all Beethoven-recording featuring the composer’s Symphony No. 5 and Piano Concerto No. 4 with world-renowned pianist Emanuel Ax.\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_94cd161d-b5f2-42b6-8234-ac3110505111_480x480.png?v=1654314702\"\u003e\u003c\/p\u003e\n\u003cp\u003eBeethoven: Symphony No. 5 in C minor, Op. 67\u003cbr\u003eEmanuel Ax\u003cbr\u003eSan Francisco Symphony\u003cbr\u003eMichael Tilson Thomas\u003cbr\u003eI. Allegro con brio\u003cbr\u003eII. Andante con moto\u003cbr\u003eIII. Allegro\u003cbr\u003eIV. Allegro\u003cbr\u003e\u003cbr\u003eBeethoven: Piano Concerto No. 4 in G major, Op. 58\u003cbr\u003eEmanuel Ax, San Francisco Symphony\u003cbr\u003eMichael Tilson Thomas\u003cbr\u003eI. Allegro moderato\u003cbr\u003eII. Andante con moto\u003cbr\u003eIII. Rondo: Vivace\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"San Francisco Symphony","offers":[{"title":"Default Title","offer_id":42821914099962,"sku":"821936003725","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/1807862.jpg?v=1654718803"},{"product_id":"symphony-no-5-romeo-juliet","title":"TCHAIKOVSKY: SYMPHONY NO.5;  ROMEO \u0026 JULIET - San Francisco Symphony, Tilson-Thomas (Hybrid SACD)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_a5dcf294-f51a-49fc-9eb4-d0541f3a0b05_480x480.png?v=1654314595\"\u003e\u003c\/p\u003e\n\u003cp\u003eDiscover powerful and moving music by Tchaikovsky in this all-new release from Michael Tilson Thomas and the San Francisco Symphony. With the heroic Symphony No. 5 and the passionate Romeo and Juliet, featuring one of the best-known love themes ever written, this thrilling, live recording is the perfect addition to any music collection.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_94cd161d-b5f2-42b6-8234-ac3110505111_480x480.png?v=1654314702\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_transparent_blue_background_correct_version_94cd161d-b5f2-42b6-8234-ac3110505111_480x480.png?v=1654314702\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSymphony No. 5 in E minor, Op. 64: I. Andante - Allegro Con Anima\u003cbr data-mce-fragment=\"1\"\u003eSymphony No. 5 in E minor, Op. 64: II. Andante Cantabile, Con Alcuna Licenza\u003cbr data-mce-fragment=\"1\"\u003eSymphony No. 5 in E minor, Op. 64: III. Valse - Allegro Moderato\u003cbr data-mce-fragment=\"1\"\u003eSymphony No. 5 in E minor, Op. 64: IV. Finale - Andante Maestoso - Molto Meno Mosso\u003cbr data-mce-fragment=\"1\"\u003eRomeo and Juliet: Fantasy - Overture\u003c\/p\u003e","brand":"San Francisco Symphony","offers":[{"title":"Default Title","offer_id":42821914132730,"sku":"821936006221","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/2868692.jpg?v=1654716563"},{"product_id":"mahler-symphony-7-beethoven-hybrid-sacd","title":"BEETHOVEN: SYMPHONY No. 7; LEONORE OVERTURE - San Francisco Symphony, Tilson-Thomas (HYBRID SACD)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_a5dcf294-f51a-49fc-9eb4-d0541f3a0b05_480x480.png?v=1654314595\"\u003e\u003c\/p\u003e\n\u003cp\u003eMichael Tilson Thomas and the San Francisco Symphony release live recordings of Beethoven’s Leonore Overture No. 3 and Symphony No. 7 on their acclaimed SFS Media label, in Hybrid SACD format.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMichael Tilson Thomas and the San Francisco Symphony continue their recording programme apace with the latest on their groundbreaking SFS Media label, live recordings of Beethoven’s Leonore Overture No. 3 and his Seventh Symphony. Featuring two of the composer’s most popular works, this Hybrid SACD release continues MTT’s and the SFS’s ongoing exploration of the music of Beethoven. In 2011, SFS Media released Beethoven’s Symphony No. 5 and his Piano Concerto No. 4 featuring Emanuel Ax (SFS0037), and the Third Symphony “Eroica” was the subject of an instalment in the acclaimed Keeping Score DVD and Blu-ray series (SFS0013). MTT and SFS will conclude their 2011-12 Centenary Season with performances of Beethoven’s Symphony No. 9 “Choral”, to be recorded for release next season.\u003c\/p\u003e","brand":"San Francisco Symphony","offers":[{"title":"Default Title","offer_id":42822019940602,"sku":"821936005422","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/2001976.jpg?v=1654713001"},{"product_id":"mahler-symphony-7-hybrid-sacd","title":"MAHLER: SYMPHONY No. 7 - Tilson-Thomas, San Francisco Symphony (HYBRID SACD)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_a5dcf294-f51a-49fc-9eb4-d0541f3a0b05_480x480.png?v=1654314595\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe San Francisco Symphony are on top form - oboist William Bennett deserves special praise for his lovely solos in the fourth movement - though in high-lying passages the violins often sound strident… It's in the finale that the new recording wins out, not just for its gleaming brilliance but for its exuberant mischievousness. -- Gramophone\u003c\/em\u003e\u003c\/p\u003e","brand":"San Francisco Symphony","offers":[{"title":"Default Title","offer_id":42822019973370,"sku":"821936000922","price":25.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/764759.jpg?v=1654712782"},{"product_id":"bach-j-s-franck-mendelssohn-cleobury-king-of-instruments-a-voice-reborn","title":"THE KING OF INSTRUMENTS:  A VOICE REBORN (BACH,J.S. \/ FRANCK \/ MENDELSSOHN \/ CLEOBURY)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/official_about_this_recording_sept_2022_e7703d5a-a47d-4dfb-8593-486633b5ac7a_480x480.png?v=1668436318\"\u003e\u003c\/p\u003e\n\u003cp\u003eThis new recording from King’s College Chapel celebrates a voice reborn: the first surround-sound recording of the famous Harrison \u0026amp; Harrison organ since its once-in-a-generation restoration in 2016. A varied programme of music from Bach to Franck and a newly recorded work by George Baker demonstrates the restored organ in all its glory played by Stephen Cleobury and recorded in high definition and 5.1 surround-sound. The accompanying booklet features some of the best images from the restoration project, a short history of the organ, and comprehensive music notes.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/official_TRACK_LISTING_WITH_WORLD_0dc0c6c8-3485-4867-8aa8-a09c520223c1_480x480.png?v=1668436329\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/official_TRACK_LISTING_WITH_WORLD_0dc0c6c8-3485-4867-8aa8-a09c520223c1_480x480.png?v=1668436329\"\u003e\u003cbr\u003e1 Alleluyas Preston, Simon 05:19\u003cbr\u003ePreludes from Das Clavierübung III Bach, Johann Sebastian \u003cbr\u003e2 Wir glauben all’ an einen Go (BWV 680) 03:33\u003cbr\u003e3 Christ, unser Herr, zum Jordan kam (BWV 684) 04:35\u003cbr\u003e4 Kyrie, Go , heiliger Geist (BWV 671) 04:16\u003cbr\u003eOrgan Sonata, Op. 65, No. 1 in F minor Mendelssohn, Felix \u003cbr\u003e5 I. Allegro moderato e serioso 05:28\u003cbr\u003e6 II. Adagio 03:01\u003cbr\u003e7 III. Andante recitativo 02:50\u003cbr\u003e8 IV. Allegro assai 03:46\u003cbr\u003e9 Resurgam Grace, Harvey 08:22\u003cbr\u003e10 Pièce héroïque (M 37) Franck, César 08:53\u003cbr\u003ePreludes from Das Orgelbüchlein Bach, Johann Sebastian \u003cbr\u003e11 In dir ist Freude (BWV 615) 02:42\u003cbr\u003e12 O Mensch, bewein’, dein’ Sünde groß (BWV 622) 05:14\u003cbr\u003e13 Heut’ triumphiret Go es Sohn (BWV 630) 01:26\u003cbr\u003e14 Procession Royale [World Premiere Recording] Baker, George 04:12\u003c\/p\u003e","brand":"KING'S COLLEGE CHOIR","offers":[{"title":"Default Title","offer_id":43654793658618,"sku":"822231702023","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/3660451.jpg?v=1668617491"},{"product_id":"liszt-reubke-mendelssohn-cleobury-stephen-organ-works","title":"ORGAN WORKS (LISZT \/ REUBKE \/ MENDELSSOHN) - STEPHEN CLEOBURY (HYBRID SACD)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/official_about_this_recording_sept_2022_e7703d5a-a47d-4dfb-8593-486633b5ac7a_480x480.png?v=1668436318\"\u003e\u003c\/p\u003e\n\u003cp\u003eThis album brings together the first ever surround sound recordings of the great Harrison \u0026amp; Harrison organ set within the chapel of King’s College, Cambridge. Performing three popular virtuosic works for the organ, Stephen Cleobury, Director of Music at King’s College, demonstrates the power and flexibility of this great instrument.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe recording begins with Liszt’s dark-hued Fantasy and Fugue on “Ad nos, ad salutarem undam”, S.259, which is based on a theme from Act 1 of Meyerbeer’s grand opera Le Prophète. The piece lasts almost 30 minutes and is in three sections: the Fantasy, Adagio and Fugue.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eJulius Reubke’s magnificent Organ Sonata on the 94th Psalm explores the theme of judgement. Considered one of the pinnacles of Romantic repertoire, and thought to have been inspired by Liszt’s Fantasy and Fugue, this piece is a test of both the organ’s versatility and the player’s pedal technique. The album concludes with Mendelssohn’s Organ Sonata No. 6 in D minor. Based on Bach’s chorale Vater unser im Himmelreich, this piece demonstrates Mendelssohn’s consummate mastery of organ textures.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOriginally built in the 19th century to replace an earlier instrument, the organ has been modernised several times and underwent major renovation in 2016.\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/official_TRACK_LISTING_WITH_WORLD_0dc0c6c8-3485-4867-8aa8-a09c520223c1_480x480.png?v=1668436329\"\u003e\u003c\/p\u003e\n\u003cp\u003eFantasy and Fugue on “Ad nos, ad salutarem undam”, S.259 \u003cbr\u003e1 i. Moderato – Allegro – Vivace 09:50 Lizst, Franz\u003cbr\u003e2 ii. Adagio 08:34 Lizst, Franz\u003cbr\u003e3 iii. Allegro deciso – Fuga (Allegretto con moto) 11:19 Lizst, Franz\u003cbr\u003eSonata No 6 in D Minor (Op 65, No 6) \u003cbr\u003e4 i. Choral – Andante sostenuto – Allegro molto 08:53 Mendelssohn, Felix\u003cbr\u003e5 ii. Fuga 02:45 Mendelssohn, Felix\u003cbr\u003e6 iii. Finale: Andante 02:47 Mendelssohn, Felix\u003cbr\u003eSonata on the 94th Psalm in C minor \u003cbr\u003e7 i. Grave – Larghetto – Allegro con fuoco – Grave 11:45 Reubke, Julius\u003cbr\u003e8 ii. Adagio – Lento 06:10 Reubke, Julius\u003cbr\u003e9 iii. (Fugue) Allegro 07:13 Reubke, Julius\u003c\/p\u003e","brand":"KING'S COLLEGE CHOIR","offers":[{"title":"Default Title","offer_id":43654794248442,"sku":"822231701026","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/2874630.jpg?v=1668621019"},{"product_id":"parry-choir-of-kings-college-cambridge-english-hymn-anthems","title":"ENGLISH HYMN ANTHEMS - CHOIR OF KING'S COLLEGE CAMBRIDGE, STEPHEN CLEOBURY, ALISON BALSOM (HYBRID SACD)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/official_about_this_recording_sept_2022_e7703d5a-a47d-4dfb-8593-486633b5ac7a_480x480.png?v=1668436318\"\u003e\u003c\/p\u003e\n\u003cp\u003eAlison Balsom trumpet\u003cbr data-mce-fragment=\"1\"\u003eParker Ramsay \u0026amp; Douglas Tang organ\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe Choir of King’s College, Cambridge\u003cbr data-mce-fragment=\"1\"\u003eDirected by Stephen Cleobury\u003c\/p\u003e\n\u003cp\u003eThe Choir of King’s College, Cambridge presents an album of anthems based on hymn tunes from the Anglican choral tradition. Highlights include Parry’s epic Hear my words, ye people, Ireland’s Vexilla Regis, organ preludes on traditional hymns by Parry and Edwards, and Lord, Thou has been our refuge by Vaughan Williams, featuring the trumpeter Alison Balsom.\u003c\/p\u003e\n\u003cp\u003eIn this recording the King’s College Choir offers a varied selection of hymn anthems from the period of their greatest popularity, the 1890s to the 1930s. Most of them owe their materials to Hymns Ancient and Modern (HA\u0026amp;M), the dominant hymnal of the time. The variety of approaches to the form is reflected in their differing generic titles – anthem, motet, hymn, song. Some of the hymn texts are biblical paraphrases; some are poems not originally conceived as hymns. A hymn-anthem may incorporate existing hymn tunes, dating from the 6th to the 19th century, or launch a new tune, which may later be adopted for congregational use, as Parry’s was. Some use scriptural prose as well as a hymn. The musical treatment also varies widely: there may be a recognisably strophic form, like a theme and variations; or the tune may be a source of motives for development or fugal treatment.\u003cbr\u003eThe two organ preludes are also based on familiar hymn tunes. The magnificent organ at King’s is well suited to the music of the period, used to great advantage by Stephen Cleobury. The choir offers a vast range of mood and expression, from tender to awe-inspiring, while the famous acoustics of the chapel add an aura of splendour throughout to this marvellous album of hymn anthems.\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/official_TRACK_LISTING_WITH_WORLD_0dc0c6c8-3485-4867-8aa8-a09c520223c1_480x480.png?v=1668436329\"\u003e\u003c\/p\u003e\n\u003cp\u003e1 Hear my words, ye people 14:42 Parry, Sir Charles Hubert Hastings\u003cbr\u003e2 O for a closer walk with God 03:15 Stanford, Sir Charles Villiers\u003cbr\u003e3 Blessed city, heavenly Salem 08:00 Bairstow, Sir Edward Cuthbert\u003cbr\u003e4 Jesu, grant me this I pray 04:47 Whitlock, Percy William\u003cbr\u003e5 Seven Chorale Preludes, Set 2 No 5 “Eventide” 04:03 Parry, Sir Charles Hubert Hastings\u003cbr\u003e6 O sons and daughters 02:22 Davies, Sir Henry Walford\u003cbr\u003e7 O what their joy and their glory must be 07:56 Harris, Sir William Henry\u003cbr\u003e8 Three Preludes (Founded on Welsh Hymn Tunes): II. Rhosymedre 04:21 Vaughan Williams, Ralph\u003cbr\u003e9 Vexilla Regis 10:25 Ireland, John Nicholson\u003cbr\u003e10 Three Songs of Praise: I. Praise 02:09 Dyson, Sir George\u003cbr\u003e11 God omnipotent reigneth 03:01 Wood, Charles\u003cbr\u003e12 Lord, Thou has been our refuge* 07:47 Vaughan Williams, Ralph\u003cbr\u003e\u003cbr\u003eTrumpet: Alison Balsom*\u003c\/p\u003e","brand":"KING'S COLLEGE CHOIR","offers":[{"title":"Default Title","offer_id":43654794281210,"sku":"822231700425","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/2849890.jpg?v=1668620730"},{"product_id":"cancioneros-del-siglo-de-oro-1451-1595-savall-la-capella-reial-de-catalunya-hesperion-xx-3-hybrid-cds","title":"Cancioneros del Siglo de Oro 1451-1595 - Savall, La Capella Reial de Catalunya, Hespèrion XX (3 Hybrid CDs)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/official_about_this_recording_sept_2022_e7703d5a-a47d-4dfb-8593-486633b5ac7a_480x480.png?v=1668436318\"\u003e\u003c\/p\u003e\n\u003cp\u003eThis deluxe remastering of three albums includes the three most famous songbooks of the Golden Age (1451-1595). The Sevillian Cancionero de la Colombina and Cancionero Musical de Medinaceli are samples of a musical humanism with a distinctly Hispanic stamp, in which the cultured and the popular come together. The Castilian Cancionero de Palacio is the most valuable and representative jewel of the repertoire performed in the itinerant Courts of the Catholic Kings, including songs, Christmas carols, ballads and 'extravagances' by authors such as Encina, Millán, Escobar, Anchieta, and Peñalosa. La Capella Reial de Catalunya, Hespèrion XX and Jordi Savall made them known to the world through these famous recordings made between 1991 and 1992.\u003c\/p\u003e\n\u003cp\u003eCD1 | 1-22. CANCIONERO DE LA COLOMBINA 72’25\u003cbr\u003e\u003cbr\u003eCD2 | 1-24. CANCIONERO DE PALACIO 78’13\u003cbr\u003e\u003cbr\u003eCD3 | 1-17. CANCIONERO DE MEDINACELI 62’16\u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":43668174569722,"sku":"8435408099486","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/71JqvY9nbsL._SL1200.jpg?v=1668959159"},{"product_id":"gluck-don-juan-semiramis-jordi-savall-le-concert-des-nations-hybrid-sacd","title":"GLUCK: Don Juan, Semiramis - Jordi Savall, Le Concert des Nations (Hybrid SACD)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/official_about_this_recording_sept_2022_e7703d5a-a47d-4dfb-8593-486633b5ac7a_480x480.png?v=1668436318\"\u003e\u003c\/p\u003e\n\u003cp\u003eIn 1761, a year before his masterpiece Orpheus and Eurydice, Gluck was already largely renewing another musical genre, the ballet, in his adaptation of a work by Molière for Viennese audiences: Don Juan. A year later, this would be followed by another, Semiramis. These two works are innovative in that they offer for the first time a coherent narrative in which all the resources of the orchestra are placed at the service of expressiveness. Jordi Savall and Le Concert des Nations recover all the nuances of these scores, reminding us that, a quarter of a century before Mozart, the stages of Europe were being regaled with all the evocative power of music by another outstanding figure: C. W. Gluck.\u003c\/p\u003e\n\u003cp\u003ePantomime ballet by Gasparo Angiolini (1731-1803)\u003cbr\u003eLibrettist Ranieri de’ Calzabigi (1714-1795)\u003cbr\u003e\u003cbr\u003e1-32. DON JUAN OU LE FESTIN DE PIERRE 42’48\u003cbr\u003e33-49. SÉMIRAMIS 22’19\u003cbr\u003e\u003cbr\u003eLE CONCERT DES NATIONS\u003cbr\u003eManfredo Kraemer premier violon\u003cbr\u003eDirection : Jordi Savall\u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":43668177912058,"sku":"8435408099493","price":33.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/AVSA9949-Gluck.jpg?v=1668959358"},{"product_id":"mozart-symphonies-39-40-41-savall-le-concert-des-nations-hybrid-sacd","title":"MOZART: Symphonies 39, 40 \u0026 41 - Savall, Le Concert des Nations (2 Hybrid SACD)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/official_about_this_recording_sept_2022_e7703d5a-a47d-4dfb-8593-486633b5ac7a_480x480.png?v=1668436318\"\u003e\u003c\/p\u003e\n\u003cp\u003eBy the middle of 1788, at the age of 32, Mozart had reached the height of his creative maturity, dominated by the last three symphonies, absolute masterpieces that he composed in a very short period of time – barely one and a half months. This extraordinary “symphonic massif” consisting of three peaks – Symphony No. 39 in E-flat major, completed on 26th June, Symphony No 40 in G minor, completed on 25th July and Symphony No. 41 in C major, the “Jupiter”, dated 10th August – is unquestionably the composer’s “Symphonic Testament”.\u003c\/p\u003e\n\u003cp\u003eMozart’s Symphonic Testament\u003cbr\u003e\u003cbr\u003e1787-1788\u003cbr\u003eYears of creative maturity, years of distress\u003cbr\u003e\u003cbr\u003eBy the middle of 1788, at the age of 32, Mozart had reached the height of his creative maturity, dominated by the last three symphonies, absolute masterpieces that he composed in a very short period of time – barely one and a half months. This extraordinary “symphonic massif” consisting of three peaks – Symphony No. 39 in E-flat major, completed on 26th June, Symphony No 40 in G minor, completed on 25th July and Symphony No. 41 in C major, the “Jupiter”, dated 10th August – is unquestionably the composer’s “Symphonic Testament”. A titanic task that he carried out without any specific commission, and, moreover, in extremely precarious personal circumstances, as can be seen from the following letter, penned almost at the same time as the Symphony in G minor (K.550), which was finished on 25th July, which he sent to Michael Puchberg, a member of the Zur Wahrheit (“To Truth”) Masonic lodge, who at that time frequently responded positively to his desperate pleas for help by regularly lending him money:\u003cbr\u003e\u003cbr\u003e“My very dear friend and brother in the Order,\u003cbr\u003e\u003cbr\u003eOwing to great difficulties and complications, my affairs have become so beleaguered that I find myself having to raise some money on these two pawn-broker’s tickets. In the name of our friendship, I beg you to do me this kindness, but it must be immediately. Forgive me for bothering you, but you know what my circumstances are.”\u003cbr\u003e\u003cbr\u003eIt is difficult today to imagine a more brutal contrast between the unremitting distress experienced by Mozart in his daily life, particularly in the final years, and the grandeur and dazzling richness of his unique and remarkable musical inspiration. It is therefore a great honour for us to present this “Symphonic Testament” of Mozart, with the recording of his last three symphonies, performed by the orchestra of Le Concert des Nations on period instruments, fully aware of Mozart’s suffering and extreme hardships at a time and in a society that failed to grasp his true musical greatness and to provide him with the moral and financial support he needed to fully develop his incomparable genius.\u003cbr\u003e\u003cbr\u003eIt was during the process of studying and understanding Mozart’s context and creative motivations at the time of composing his last three symphonies that I realised that it was essential to delve once more into his work and the most significant events of his life during the second half of 1787 and the following years. The summer of 1788 was a period of extraordinary creativity and maturity for the composer, but it was also the moment at which his life crossed the threshold of financial difficulties and declined into the most abject poverty, a situation which constantly obliged him to enter into unsustainable debts by regularly seeking loans from his friends at the Masonic lodges of which he had been a member after being admitted to the Order on 14th December, 1784.\u003cbr\u003e\u003cbr\u003eThe impressive research carried out by H. C. Robbins Landon during the 1980s clearly confirms Mozart’s links with Freemasonry during the last years of his life, in particular the Masonic lodge Zur gekrönten Hoffnung (Crowned Hope) in Vienna. It is for this reason that we have specially chosen the anonymous painting depicting a meeting of the Crowned Hope Masonic lodge in 1790 as the cover illustration of our edition. Mozart is distinctly visible as the first figure on the right of the painting. To reinforce the visual presence of Mozart in the cover image, we have taken the liberty of replacing the illustration on the wall in the background of the painting with the unfinished portrait of the composer by his brother-in-law Joseph Lange (1789 and 1790). The allegorical painting hanging on the wall in the original (reproduced in the booklet) represents an expanse of water and a rainbow. Given that the rainbow which appeared after the Flood, is a symbol of hope in the Bible and in Masonic iconography, it must have been obvious to the initiated that the painting depicted the Crowned Hope Lodge.\u003cbr\u003e\u003cbr\u003eThese links with Freemasonry are further corroborated by the recent discovery of an authentic document in which Mozart is referred to as member\u003cbr\u003e\u003cbr\u003eNº 56: “Mozart Wolfgang: Kapell Meister III Degree”.\u003cbr\u003e\u003cbr\u003eWe also know that Mozart’s most important Masonic work, the Maurerische Trauermusik (K.477), was performed in 1785 at the funeral following the death of two members of that lodge – Georg August, Duke of Mecklenburg-Strelitz (who died on 6th November) and Franz, Count Esterházy von Galántha (who died on 7th November). As the count was a brother of the lodge, a funeral was held there on 17th November with the participation of an orchestral ensemble as extraordinary as it was fortuitous, including the two brothers Anton David and Vincenz Springer, who played the basset horn parts, very likely joined by Mozart’s friend Anton Stadler on the clarinet. We entirely agree with Robbins Landon when he writes: “The dense symbolism of this Masonic Funeral Music shows that Mozart was thoroughly imbued with the theories and philosophy of death and their relevance to the first degree of the Order.”[1]\u003cbr\u003e\u003cbr\u003eTwo years later, in 1787, Mozart began the year under more auspicious circumstances following the enthusiastic welcome he had been given in Prague, a city which offered him everything that Vienna had denied him: success, official support, a stage and a theatre company. But he was at a critical juncture and he turned the offer down, saying: “I belong too much to others, and too little to myself.” He needed solitude in order to compose and think. Over the following months, various factors closely linked to his personal life were to have a profound effect on him: the departure from Vienna of Nancy Storace (who had sung Suzanne in The Marriage of Figaro), thus drawing to a close the sweetest love of his life, the death of his third child, as well as that of his friend Hatzfeld, and the news (received on 4th April) of his father’s worsening state of health and his eventual death, which occurred in Wolfgang’s absence on 28th May, 1787.\u003cbr\u003e\u003cbr\u003eIt was at this time that he fraternally (in the Masonic sense) spoke to his father about the meaning of death. In a famous letter, written on 4th April 1787, Wolfgang confided in the dying Leopold: “As death (when closely considered) is the true goal of our life, I have made myself so thoroughly acquainted with this good and faithful friend of man, that not only does its image no longer alarm me, but rather it is something most peaceful and consolatory! And I thank God that He has vouchsafed to grant me the happiness, and has given me the opportunity (you understand me), to learn to see it as the key to our true felicity. I never lie down at night without thinking (young as I am) that I may be no more before the next morning.”\u003cbr\u003e\u003cbr\u003eA month later, in the letter dated 11th May of the same year, addressed to his daughter Nannerl, Leopold Mozart voiced his concern: “Your brother is now living at 224, Landstrasse. He has given me no explanation regarding this matter. None at all! Unfortunately, I can guess the reason.” Mozart had already started to get into debt, but what were the reasons and circumstances that had led him to live beyond his means? We can only speculate on the answer to these questions.\u003cbr\u003e\u003cbr\u003eOn 29th October in Prague he performed his opera Don Giovanni, based on Tirso de Molina’s famous play, in an admirable stage version by Lorenzo Da Ponte, working to instructions from Mozart himself, who wished to give greater prominence to the secondary characters in the quartet, the mask trio, and the sextet. The sublime vision of this opera reveals Mozart as a dramatic genius on a par with Shakespeare or Molière.\u003cbr\u003e\u003cbr\u003eIn spite of his enormous financial difficulties, his creative energy, encouraged by his success in Prague was not diminished. On the contrary, after the opera he enjoyed a burst of creativity which was to culminate in the composition of his last three symphonies. We agree with Jean-Victor Hocquard, who writes: “He suggests the concept of a vast 3-part symphonic project; it is therefore appropriate not to see these three masterpieces in isolation, but to consider them as the three movements of a single, vast symphonic work.” Mozart the Freemason knew that he was not separate from the universe, and that his own personal story and human society were connected in many ways that were sometimes mysterious and sometimes evident. Like J. \u0026amp; B. Massin, we believe that “It was from his most intimate Erlebnis (experience) that the 1788 trilogy was born, yet it transcends the composer’s personal circumstances while remaining true to them, and the victory proclaimed in the Symphony in C major is both Mozart’s victory over poverty and solitude and the victorious future towards which humanity is progressing.”\u003cbr\u003e\u003cbr\u003eThis unity strikes us as quite evident, both in terms of performance and as a listening experience: one need only feel the naturalness and eloquence of the development of the first movement of the Symphony in G minor, performing or listening to it after the final Allegro of the Symphony in E-flat major. The same perfect continuity of musical discourse is apparent when we approach the Symphony in C major after the Finale of the Symphony in G minor Hence our proposal of the three symphonies on two CDs, with Symphonies 39 and 40 on CD1 and Symphonies 40 and 41 on CD2. (Repeating the Symphony in G minor on the second CD, enables us to listen to them one after the other, without having to change CDs).\u003cbr\u003e\u003cbr\u003eThese works, which Mozart possibly never heard performed, were not readily understood in his own day, or even by later generations. At the end of 1790, Gerber published in his Historisch-Biographisches Lexicon der Tonkünstler the following entry on Mozart, referring to his isolation and the difficulty of his contemporaries in understanding his work:\u003cbr\u003e\u003cbr\u003e“Thanks to his precocious knowledge of harmony, this great master acquired such a profound and intimate familiarity with this science that it is difficult for an untrained ear to follow his compositions. Even the most seasoned audiences need to listen to his compositions several times.”\u003cbr\u003e\u003cbr\u003eBerlioz writes of these last symphonies that they contain “Too many pointless developments to no effect, too many technical tricks”. “If one requires of music an imaginative and impassioned exaltation, sustained and taken to extremes thanks to a rhetoric in which the ‘effects’ are judiciously or obligingly tempered, then he is right”. What is distinctive about Mozart”, argues Jean-Victor Hocquard in his magnificent biography of the composer (Ed. du Seuil, Paris 1970) – “is not only that he did not contrive these effects, but rather that, having tried them, he then broke the mould. His symphonies were unparalleled, and what the maestro had done for the string quartet and quintet, he now achieves in his writing for the orchestra independently of the piano: he makes it the substance of pure poetry.” Mozart reached maturity and the peak of symphonic composition in his day at the age of 32. It was not until eleven years later (1799) that a 29-year-old Ludwig van Beethoven would follow Mozart’s lead and compose his Symphony No. 1 in C major.\u003cbr\u003e\u003cbr\u003e———\u003cbr\u003e\u003cbr\u003eIn 1789 Mozart’s circumstances had deteriorated even further. But what a contrast between the creative intensity of this musical giant and his wretched and increasingly desperate financial situation, one which too often forced him to borrow money from his friends at the Masonic lodge.\u003cbr\u003e\u003cbr\u003eIn another letter to Michael Puchberg dated 12th July, 1789, he writes:\u003cbr\u003e\u003cbr\u003e“Oh, God. Instead of thanking you, I come to you with new requests! Instead of paying off my debts, I come asking for more! If you can see into my heart, you must feel that same anguish that I am experiencing I hardly need remind you that this unfortunate illness is slowing me down with my earnings: however, I must tell you that, in spite of my miserable situation, I decided to go ahead and give subscription concerts at my house so that I can at least meet my numerous current expenses, which are considerable and frequent; for I was absolutely convinced that I could rely on your friendly help and support; but in this respect also I have failed! Unfortunately, fate is so against me, albeit only in Vienna, that I cannot earn any money, no matter how hard I try. For two weeks now I have sent round a list for subscriptions, and the only name on it is Swieten!”\u003cbr\u003e\u003cbr\u003eOne year later, on 20th January, 1790, Mozart wrote once again to his friend Puchberg:\u003cbr\u003e\u003cbr\u003e“If you can and will lend me a further 100 florins, you will oblige me very greatly. We are having the first instrumental rehearsal at the theatre tomorrow. Haydn is coming with me. If your business allows you to do so, and if you would like to hear the rehearsal, please come to my quarters at 10 o’clock tomorrow morning, and we shall all go there together.”\u003cbr\u003e\u003cbr\u003eYour very sincere friend.\u003cbr\u003e\u003cbr\u003eA. Mozart”\u003cbr\u003eJoseph Haydn and Puchberg followed closely the birth of Così fan tutte, and Puchberg continued to lend Mozart money on the security of the composer’s fees. The premiere took place at the national theatre on 26th January, 1790. The critics’ reactions were good, and it appears that for the first time in Vienna there was unanimity concerning one of Mozart’s operas. The day after the premiere, Mozart celebrated his 34th birthday. It was to be his last full year of life; he would not see out the year 1791. Così fan tutte was performed another four times, but on 20th February Emperor Joseph II died and the theatres remained closed during the official period of mourning until 12th April. For Mozart, Joseph II’s death was a total disaster; the performances of his opera were immediately cancelled and he was unable to organise any concerts. The less immediate consequences were even more serious.\u003cbr\u003e\u003cbr\u003eFrom the end of January until the end of April, he had written nothing – a state of affairs that he had not experienced since the winter of 1779-1780 at Salzburg. It was a clear sign of his depression; he had never been in such dire straits. On 14th August, 1790, he sent Puchberg an S.O.S. – the most tragic of his begging letters.\u003cbr\u003e\u003cbr\u003e“My dear friend and brother, I was tolerably well yesterday, but I feel absolutely wretched today: I could not sleep all night because of the pain; I must have got overheated yesterday from walking so much and then I must have caught a chill without realising it. Imagine my situation! Sick and overcome with worries and anguish! Such a situation prevents a quick recovery. In a week or fortnight I shall be better off, certainly, but at present, I am destitute. Could you not help me out with a trifle? The smallest sum would be very welcome just now and for the time being you would provide relief for your true friend and brother.”\u003cbr\u003e\u003cbr\u003eA. Mozart”\u003cbr\u003eAs Jean and Brigitte Massin so aptly observe in their indispensable book on the life and work of Mozart (Paris 1970): “This time, Mozart had reached rock bottom. That same day, Puchberg sent him 10 florins, the most modest sum he had ever been loaned. This brought Puchberg’s loans to Mozart since those of the previous winter to a total of 510 florins, the composer’s expected fees from Così fan tutte being offered as security. The amounts of money lent by Puchberg closely reflect Mozart’s perceived social standing. In April-May, it seemed likely that Mozart would obtain a coveted position at Court, and Puchberg accordingly answered Wolfgang’s requests by sending him sums of 150 or 100 florins; but when it became clear that he could no longer hope to secure the position, the value of the loans decreased to 10 florins following Mozart’s desperate letter written in August.” Events showed that the increasing distance between the Court of the new Emperor Leopold II and Mozart was due to fear that the French Revolution, which had succeeded in toppling the monarchy of Versailles, would spread, as well as Leopold II’s growing conviction that Freemasons – and particularly those who sympathised with the Enlightenment – were in league with the French Jacobins. Mozart had written the opera The Marriage of Figaro, inspired by the Beaumarchais play of which Louis XVI had said: “For the performance of this play not to be a danger, the Bastille would have to be torn down first.” And he never made any secret of belonging to the Freemasons. Moreover, the most notable among his friends at the lodges were followers of the Enlightenment. “It was unthinkable that the musician who had praised liberty in Die Entführung aus dem Serail, equality in The Marriage of Figaro, and who would go on to raise a hymn to fraternity in The Magic Flute, would not wholeheartedly espouse the slogan “LIBERTY, EQUALITY, FRATERNITY!” that was already familiar to the Grand Orient Lodge of France, and today is proclaimed by revolutionaries.” “The fact that Mozart was not included on the list of the guest musicians at the coronation celebrations was not an oversight or a matter of indifference: it expressed the wish to bury him alive.” (J. \u0026amp; B. Massin).\u003cbr\u003e\u003cbr\u003eTowards the end of that grim year of 1790, he received an interesting invitation from the director of the Italian Opera in London to carry out various engagements between December 1790 and June 1791. However, Mozart was not able to accept the offer. To be available at such short notice, he needed to be free of commitments, and Mozart enjoyed no such freedom. His position and his duties prevented him from travelling without making the necessary arrangements to take leave of absence. How was he to sort out such a complicated situation? How was he to find the money necessary to make the trip to England? Mozart was a prisoner of his own hardship, trapped in Vienna. The tour that he had been forced to decline was taken up by one of his closest friends. On 15th December, 1790, Joseph Haydn left Vienna to embark on a London concert tour. After Haydn’s departure, Mozart was once again left to face his financial problems alone. Projects, resolutions, realisations and all his endeavours failed to change the distressed circumstances of his household. His last winter was to prove one of his most difficult: his friend, Joseph Deiner, the owner of the “Zur silbernen Schlange” (The Silver Snake) inn, where Mozart liked to spend time in the company of other musicians, recounted the following: “In 1790, he called on the Mozarts. He found Mozart and his wife in the workroom which overlooked the Rauhensteingasse. The couple were busily dancing around the room. On asking Mozart if he was giving his wife dancing lessons, Mozart laughingly answered: ‘We are warming ourselves up, because we are cold and we can’t afford firewood.” Deiner immediately went and brought some of his own firewood, which Mozart accepted, promising to pay him back as soon as he had some money.” (Joseph Deiner, Memoirs). Ludwig Nohl, Mozart nach den Schilderungen seiner Zeitgenossen, Leipzig, 1880. \u003cbr\u003e\u003cbr\u003eIn 1791, the Mozart family’s financial circumstances began to improve. Unlike 1790, which had been a disastrous year in which Mozart had composed no works of major importance except the two Prussian Quartets, the String Quintet in D major and his Organ Piece for a Clock – 1791 was one of Mozart’s most prolific years, notably yielding the Piano Concerto No. 27, the Six German Dances for orchestra, the Ave verum corpus, The Magic Flute, La Clemenza di Tito, the Clarinet Concerto in A, Eine kleine Freymaurer-Kantate and the greater part of the Requiem.\u003cbr\u003e\u003cbr\u003eOn 14th October, 1791, Mozart was in Vienna, and he took Salieri and the latter’s mistress, the singer Caterina Cavalieri, to a performance of The Magic Flute. In his last surviving letter, he wrote to his wife: “Both said that it is an opera worthy to be performed on the greatest occasions before the greatest of monarchs.” That same day, Emperor Leopold II, at the Hofburg Palace in Vienna, received an unsigned letter from a confidant (whose handwriting he recognised), accusing Archduke Franz von Schloissnig, of plotting a revolution against him. One of the ensuing investigations mentioned one of Mozart’s principal patrons, Baron Swieten, as well as many other members of Masonic lodges, whom the Austrian government suspected of wishing to follow France’s example by establishing a constitutional monarchy. There can be little doubt that, as a prominent Freemason, Mozart must also have come under suspicion.\u003cbr\u003e\u003cbr\u003eThis terrible situation, combined with his delicate state of health and a punishingly intense work schedule, progressively took its toll on his mental and physical condition. The fatal blow came on 12th November, 1791, when a harsh sentence was handed down to Mozart following a trial in which Prince Carl Lichnowsky[2], a member of the same lodge as Mozart during the period 1784-1786, was also involved. Documents discovered by the leading Mozart scholar H. C. Robbins Landon at the Hofkammerarchiv in Vienna concerning a previously unknown court case provide the first evidence of what was probably the chief cause of the composer’s death at the age of 35. They reveal that on 12th November, 1791, Mozart was ordered to repay a debt of 1,435 florins and 32 Kreuzer, as well as 24 florins in costs, involving the embargo of half of his stipend as Imperial-Royal Court Composer and his assets going into receivership. The details of this extraordinary trial are not known, but taking into account Mozart’s extremely precarious situation, it is more than likely that the emotional and financial blow dealt by such an implacable sentence contributed to hasten the composer’s untimely demise. 24 days later, following a grave illness characterised in its later stages by kidney failure, Mozart died at 12.55 a.m. on 5th December, 1791, at the age of 35.\u003cbr\u003e\u003cbr\u003eHis Freemason brothers organised a funeral ceremony in his memory, and the funeral oration was printed by Ignaz Alberti, a member of the composer’s lodge, who had published the first libretto of The Magic Flute.\u003cbr\u003e\u003cbr\u003eAt three o’clock in the afternoon of 6th December, 1791, in the afternoon, following a funeral service in the Chapel of the Holy Cross of St. Stephen’s Cathedral, Mozart’s s remains were transferred to St. Mark’s cemetery outside the city walls, where they were buried in a common grave.\u003cbr\u003e\u003cbr\u003e_________\u003cbr\u003e\u003cbr\u003e“I was for some time quite beside myself over Mozart’s death;\u003cbr\u003eI could not believe that Providence should so quickly have called\u003cbr\u003ean irreplaceable man into the other world.”\u003cbr\u003eJoseph Haydn\u003cbr\u003e\u003cbr\u003eWhen Rossini was asked,\u003cbr\u003e“Who was the greatest musician?” he replied, “Beethoven!”\u003cbr\u003e“And Mozart?” “Oh! He was unique!”\u003cbr\u003e\u003cbr\u003eTwo hundred years later, this judgment still holds true.\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003eJORDI SAVALL\u003cbr\u003eMelbourne, 28th March, 2019\u003cbr\u003eTranslated by Jacqueline Minett\u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":43668181876986,"sku":"8435408099349","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/AVSA9934-MozartSQ.jpg?v=1668959623"},{"product_id":"beethoven-the-9-symphonies-wilhelm-furtwangler-vienna-philharmonic-royal-stockholm-philharmonic-bayreuth-festival-orchestra-6-hybrid-sacds","title":"BEETHOVEN: THE 9 SYMPHONIES - WILHELM FURTWANGLER, VIENNA PHILHARMONIC, ROYAL STOCKHOLM PHILHARMONIC, BAYREUTH FESTIVAL ORCHESTRA (6 HYBRID SACDS)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialaboutthisrecordingsept2022_1b671117-a747-449a-9403-66663edc8519_480x480.png?v=1681155916\"\u003e\u003c\/p\u003e\n\u003cp\u003eBeethoven was Wilhelm Furtwängler's guiding musical force. In his interpretations of the symphonies, the conductor generates irresistible dramatic momentum - and a constant sense of imaginative freshness - through the interrelationship of form, harmony, texture, rhythm and tempo.\u003c\/p\u003e\n\u003cp\u003eThese recordings, all made in the late 1940s and early 1950s, in the Musikverein in Vienna and at concerts in London, Bayreuth and Stockholm, have been remastered in 192kHz\/24-bit at Art \u0026amp; Son Studio (in 2021 for the 7 recordings included in The Complete Wilhelm Furtwängler on Records and newly for this edition for the 3 other ones), bringing their sound more alive than ever before and for the first time here on a physical medium.\u003cbr\u003e\u003cbr\u003eAs a bonus the 5th Symphony live performance from 1950 in Copenhagen restored in HD from an excellent condition analogue source has been added.\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_b79a4887-e333-4cca-a4b2-e2b81d298cf5_480x480.png?v=1681155905\"\u003e\u003c\/p\u003e\n\u003cp\u003eBeethoven: Symphonies Nos. 1-9\u003c\/p\u003e\n\u003cp\u003eWiener Philharmoniker\u003cbr data-mce-fragment=\"1\"\u003eWilhelm Furtwängler\u003cbr\u003e\u003cbr\u003e--Symphony No. 8 w\/Royal Stockholm Philharmonic Orchestra\u003c\/p\u003e\n\u003cp\u003e--Symphony No. 9 w\/Chor und Orchester der Festspiele Bayreuth\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eBeethoven: Symphony No. 5 in C minor, Op. 67\u003cbr\u003e1950 live recording\u003cbr\u003eWiener Philharmoniker\u003cbr\u003eWilhelm Furtwängler\u003c\/p\u003e","brand":"WARNER CLASSICS","offers":[{"title":"Default Title","offer_id":44258752790778,"sku":"5054197138881","price":59.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/4193542-2960125.jpg?v=1685365811"},{"product_id":"mozart-requiem-savall","title":"MOZART: Requiem - Savall, Les Concerts des Nations, La Capella Nacional de Catalunya (Hybrid SACD)","description":"\u003cp\u003eWhen he was only a child, Jordi Savall entered a church in which musicians were rehearsing Mozart's Requiem. It made such a impression on him that he said to himself: \"If music has such a power, I want to be a musician.\" Now 81, having recorded 230 albums, he delivers a stunning new recording of this work. \"Savall conducted with his chamber ensemble Le Concert des Nations and chorus La Capella Nacional de Catalunya a version vividly depicting the horrors of death... as a musician and consummate scholar he is a man of the Enlightenment and succeeds in reviving the original religious intention and effect of this Mass for the Dead.\" (Süddeutsche Zeitung)\u003c\/p\u003e\n\u003cp\u003eThe course of my whole life would undoubtedly have been very different if, one October evening in 1955, I had not had been fortunate enough to hear a live rehearsal of Mozart’s Requiem. A few months earlier, on 1st August, I had turned 14, and luck would have it that my teacher, Joan Just (a composer, and the director of the Conservatoire in my home town of Igualada), decided to prepare the work with the choir of the local Schola Cantorum. That evening I was on my way to the Conservatoire to attend my usual counterpoint and harmony lessons with him; for some reason, I didn’t receive the message telling me that classes had been cancelled due to a rehearsal of the Requiem.\u003cbr\u003e\u003cbr\u003eSo I discreetly sat in on the rehearsal at the back of the hall, where the choir of the Schola Cantorum was accompanied by just an organ and a string quartet. From the very first notes, I was totally fascinated by the incredible beauty of the work and the expressive power of the melodies, by every movement, by the originality of the various themes and the perfection of the counterpoint and the richness of the modulations. By the time the final bars sounded, I had been profoundly moved by this extraordinary experience, which transported me to a dimension I had never experienced before. I felt overwhelmed by this veritable “lux aterna” (eternal light) and the great power of consolation that emanated from this majestic piece. As I walked home, I said to myself that if music could touch a person’s soul so powerfully, I wanted to be a musician.\u003cbr\u003e\u003cbr\u003eA few days later, I went to Barcelona to buy a second-hand cello. On my way home, I tried to play a little and, after the first few moments of hesitation, I suddenly felt a great affinity with the instrument. The fingers of my left hand positioned themselves and moved easily and deftly on the neck of the instrument, while, with little effort, my right hand was quickly able to control the quality of the sound with the bow. In short, I had the wonderful feeling of being able to sing again and I felt completely at home! It was then that I understood the unique feeling described by Mark Twain when he said that “The two most important days of your life are the day you are born and the day you find out why.” And so it was that after hearing Mozart’s Requiem and my first few attempts at playing the cello, I was absolutely certain about the path I would follow: from that moment, I would always work to master and share that light which gives meaning to life and nourishes our soul.\u003cbr\u003e\u003cbr\u003eJORDI SAVALL\u003cbr\u003eSalzburg, 31st January, 2023\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":44274310938874,"sku":"8435408099530","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/71cFh17T3YL._SL1200.jpg?v=1686341223"},{"product_id":"copy-of-mozart-requiem-savall-les-concerts-des-nations-la-capella-nacional-de-catalunya-hybrid-sacd","title":"EROS \u0026 SUBTILITAS: Early Renaissance music - Ensemble Tasto Solo (Hybrid SACD)","description":"\u003cp\u003eEnsemble Tasto Solo brings us back to the Europe of the XVIIth Century, at a time when Italy was the epicenter of a new style derived from the world of dance. This album revolves mainly around the work of composer Vincenzo Ruffo and his contemporaries. The instruments used in the present recording are typical of the Italian culture of the early Renaissance in chamber music: a small harpsichord without damper in the upper register, a simple harp, a viola da gamba and a lute.\u003c\/p\u003e\n\u003cp\u003eEROS \u0026amp; SUBTILITAS\u003cbr\u003eEarly Renaissance music by Vincenzo Ruffo, Philippe Verdelot,\u003cbr\u003eJacques Arcadelt, Clement Janequin, Jhan Gero, Domenico Ferrabosco,\u003cbr\u003eand anonymous pieces from the Manuscript of Castell’Arquato.\u003c\/p\u003e\n\u003cp\u003e 1. La Gamba 3:32\u003cbr data-mce-fragment=\"1\"\u003eV. Ruffo\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e2. Dormendo un giorno 2:33\u003cbr data-mce-fragment=\"1\"\u003ePh. Verdelot\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e3-4. Dormendo un giorno 5:10\u003cbr data-mce-fragment=\"1\"\u003eV. Ruffo, Ph. Verdelot\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e5. Pavana in Sol 2:31\u003cbr data-mce-fragment=\"1\"\u003eMS Castell’Arquato\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e6. Saltarello in Sol 2:41\u003cbr data-mce-fragment=\"1\"\u003eMS Castell’Arquato\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e7. Quand’io penso al martire 2:07\u003cbr data-mce-fragment=\"1\"\u003eV. Ruffo, J. Arcadelt\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e8. Madonna io v’amo 2:57\u003cbr data-mce-fragment=\"1\"\u003eJ. Gero\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e9. Ricercare in La 2:54\u003cbr data-mce-fragment=\"1\"\u003eMS Castell’Arquato\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e10. Lieti felici spirti 3:32\u003cbr data-mce-fragment=\"1\"\u003eV. Ruffo\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e11-12. Pavana \u0026amp; Saltarello in Re 3:17\u003cbr data-mce-fragment=\"1\"\u003eMS Castell’Arquato\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e13. Gentil mia donna 2:57\u003cbr data-mce-fragment=\"1\"\u003eV. Ruffo\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e14. Ricercare in Sol 1:49\u003cbr data-mce-fragment=\"1\"\u003eMS Castell’Arquato\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e15. Io mi sono gioveneta 2:51\u003cbr data-mce-fragment=\"1\"\u003eD. Ferrabosco, MS Castell’Arquato\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e16-17. O felici occhi miei 6:07\u003cbr data-mce-fragment=\"1\"\u003eJ. Arcadelt, V. Ruffo\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e18. La Disperata 1:28\u003cbr data-mce-fragment=\"1\"\u003eV. Ruffo\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e19. Martin menoit 2:02\u003cbr data-mce-fragment=\"1\"\u003eV. Ruffo, C. Janequin\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e20-21. Pavana \u0026amp; Saltarello in Ut 3:44\u003cbr data-mce-fragment=\"1\"\u003eMS Castell’Arquato\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e22. El Cromato 1:38\u003cbr data-mce-fragment=\"1\"\u003eV. Ruffo\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e23. Da bei rami scendea 4:10\u003cbr data-mce-fragment=\"1\"\u003eV. Ruffo, J. Arcadelt\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eTASTO SOLO\u003cbr data-mce-fragment=\"1\"\u003eAnne-Kathryn Olsen, soprano · Riccardo Pisani, baritone\u003cbr data-mce-fragment=\"1\"\u003eBertrand Cuiller, Renaissance harpsichord · Bérengère Sardin, Renaissance harp\u003cbr data-mce-fragment=\"1\"\u003ePau Marcos, viola bastarda · Bor Zuljan, Renaissance lute\u003cbr data-mce-fragment=\"1\"\u003eGuillermo Pérez, organetto \u0026amp; direction\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eRecorded at the Château de Bournazel (France), November 2021.\u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":44274312577274,"sku":"8435408099523","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/4166297-2932488.jpg?v=1686341485"},{"product_id":"copy-of-bailar-cantando-fiesta-mestiza-en-el-peru-savall-hesperion-xx-hybrid-sacd","title":"SCHUBERT: Transfiguration - Symphony Nos. 8 \u0026 9 - Jordi Savall, Le Concert des Nations (2 Hybrid SACDs)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/about_this_recording_transparent_black_shadow_2_522753e9-66ba-48ea-8558-b0cd53a478e3_480x480.png?v=1646166167\"\u003e\u003c\/p\u003e\n\u003cp\u003eFRANZ SCHUBERT\u003cbr\u003e(1797-1828)\u003cbr\u003eTransfiguration\u003cbr\u003eUnfinished Symphony in B minor\u003cbr\u003e\u0026amp; Great Symphony in C major\u003c\/p\u003e\n\u003cp\u003eCD1\u003cbr\u003eSymphonie Inachevée nº 8 en Si mineur 24’41\u003cbr\u003eD. 759 (1822)\u003cbr\u003e\u003cbr\u003eI. Allegro moderato 14’42\u003cbr\u003eII. Andante con moto 9’57\u003cbr\u003e\u003cbr\u003eCD2\u003cbr\u003eGrande Symphonie nº 9 en ut majeur 61’18\u003cbr\u003eD. 944 (1825-1828)\u003cbr\u003e\u003cbr\u003eI. Andante – Allegro ma non troppo – Più mosso 15’25\u003cbr\u003eII. Andante con moto 13’55\u003cbr\u003eIII. Scherzo: Allegro vivace – Trio – Scherzo da capo 16’27\u003cbr\u003eIV. Allegro vivace 15’28\u003c\/p\u003e\n\u003cp\u003eWithout fear of being indiscreet, we can now admit that we were thinking of devoting our energies to Schubert’s Symphonies 8 and 9 immediately after finishing our cycle of the complete Beethoven symphonies, which, after a year’s delay as a result of Covid, concluded with the concert on 15th December, 2021, at Barcelona’s Gran Teatre del Liceu.\u003cbr\u003e\u003cbr\u003eHaving said that, this idea of a symphonic cycle with Le Concert des Nations focusing on the principal composers of the 19th century began much earlier, in 1993 in fact, when we were preparing Beethoven’s Third and Juan Crisóstomo de Arriaga’s Great Symphony for the recording we made in January, 1994. Unfortunately, lack of funding on the part of our recording label AUVIDIS forced us to shelve the project. This was one of the reasons why we decided to create our own recording label ALIA VOX in 1997.\u003cbr\u003e\u003cbr\u003eHowever, it was not until 2017 that we were able to resume our idea of a major symphonic and choral cycle with the concerts and recordings of Mozart’s last three symphonies, which we began to prepare and record in 2017 and finished in June 2018. With the establishment of our major Academies for young professional musicians in the spring of 2019 we were able to start work on preparing Beethoven’s complete symphonies, a heroic and at the same time wonderful project, which, notwithstanding Covid, culminated in November, 2021, with the release of the album comprising the last four symphonies. During the Professional Academies in the summer of 2021, just after having spent two intense years in the company of Beethoven, we turned our attention to Franz Schubert’s Symphonies 8 and 9 with our period-instrument orchestra Le Concert des Nations, which brings together more than 60 professional musicians from all over Europe and other countries around the world, including young professional musicians specialising in performance using period instruments. \u003cbr\u003e\u003cbr\u003eWhile what struck us the most about Beethoven’s creative process was his extraordinary imagination and revolutionary inspiration, in the case of Schubert it was the composer’s intimate and fraternal relationship with suffering and death that we found most moving. This explains why, in the creative process of Schubert’s musical language, we never fail to be amazed by his capacity to engage with that essentially inward, spiritual dimension, that transfiguration, which he sums up so simply in a sentence from his diary in March, 1824: “My works are the fruit of my musical knowledge and my pain.”\u003cbr\u003e\u003cbr\u003eIn order to flourish, a pre-condition of the creative process thus defined is a great personal awareness and maturity. In this sense, it is interesting to compare the very different circumstances surrounding the lives and works of the three great musical geniuses: Mozart composed his first symphony in 1764 at the age of 8 and his last three symphonies between 25th July and 25th August,1788, when he was 32; Beethoven composed his first symphony aged 29 and his last (the Ninth) at the age of 50; and Schubert composed his first symphony in 1813, at the age of 16, his Unfinished Symphony in 1822 at the age of 25, and his last Great symphony in C major in 1828 at the age of 31.\u003cbr\u003e\u003cbr\u003eBeethoven’s nine symphonies had brought the sonata form to heights that were impossible to surpass without a radical change of direction. Schubert succeeded in finding a personal solution, albeit not without effort.\u003cbr\u003e\u003cbr\u003eWe know the answer given by the 15-year-old Schubert to his dear friend Joseph von Spaun (1788-1865) when the latter said to him: “You have already done a great deal, and in time you will do many more great things” Schubert quietly answered: “Calmly, and in secret, I hope that I can still do something of my own, although what can one do after Beethoven?”\u003cbr\u003e\u003cbr\u003eIn terms of historical context it is interesting to note the close proximity and coincidence in time between the years 1817 and 1823 in which these various symphonies were composed and the difference in age of their respective composers: it should be remembered that during those years Beethoven, then more than 50 years old and at the height of his fame as a composer and creator of a truly revolutionary symphonic style, was finishing the composition of his last choral symphony, whereas in 1821-1822 Schubert, still little known as a composer of symphonies, wrote his Unfinished Symphony in B minor aged 25 in 1822. We know the first two complete movements: Allegro moderato and Andante con moto, but the first twenty bars of the beginning of a totally or partially orchestrated scherzo also exist in manuscript form, as well as an unorchestrated sketch for the same scherzo, which ends at the beginning of the trio. The symphony is thus –in fact– unfinished.\u003cbr\u003e\u003cbr\u003eBut is it really unfinished? What actually happened? \u003cbr\u003e\u003cbr\u003eHis friend Joseph Huttenbrenner wrote in 1868: “The Symphony was in my possession for many years and Anselm made a piano transcription of it for four hands [in 1853]. Schubert gave it to me as a token of his gratitude for the honorary diploma from the Graz Musical Society, dedicating it to the Society and to Anselm. I delivered the diploma to Schubert. The Symphony in B minor, which my brother and I consider to be equal to a Beethoven symphony, had not yet been accepted by any orchestra.”\u003cbr\u003e\u003cbr\u003eAt this point, I would like to quote the profound and illuminating words of Brigitte Massin (1927-2002), with which I fully agree, concerning the life and work of Schubert: “We know that, spurred on by the number, quality and urgency of his ideas, Schubert sometimes abandoned a composition to begin another. It is perhaps to this wealth of ideas racing ahead of each other that must look for a more or less satisfactory explanation of what might be called the mystery of the Unfinished Symphony.” In spite of its name, the symphony is now accepted as complete, thanks to the special and palpable unity binding its two movements: Allegro moderato and Andante con moto.\u003cbr\u003e\u003cbr\u003e“This unity between the allegro and the andante”, Brigitte Massin reminds us, “seemed so obvious, so intentional to the German musicologist Arnold Schering (1877-1941), that he discerned in the Unfinished Symphony a true musical transfer of the composer’s contemporary literary text, also written in two parts, entitled Mein Traum (“My dream”), which Schubert wrote in July, 1822, thus explaining the unfinished nature, or rather the completeness, of the work. Without venturing so far, we can say that never before –at least in his symphonic music– had Schubert given such adequate musical expression to what he had formulated three months earlier in Mein Traum as one of his innermost thoughts: \u003cbr\u003e\u003cbr\u003eWhen I wished to sing of love,\u003cbr\u003eit turned to pain.\u003cbr\u003eAnd when I wished to sing of pain,\u003cbr\u003eit turned to love.”\u003cbr\u003e\u003cbr\u003eBeethoven composed his last symphony between 1817 and 1823 and it was premiered in Vienna on 7th May, 1824, conducted by the composer himself and the Kapellmeister Michael Umlauf. In fact, this was to be the composer’s last public appearance, and for the next three years he remained confined to his home, stricken with various ailments which led to his death on 26th March, 1827, after 54 years of a dramatic but highly creative and intense life, and having won unanimous success and recognition. \u003cbr\u003e\u003cbr\u003eIn sharp contrast, on 16th November, 1828, a year and a half after Beethoven’s death, Franz Schubert also passed away, surrounded by some of his closest friends, most probably due to his poor general health, which prevented him from withstanding the sudden worsening of the typhoid fever from which he was suffering. A few months after finishing his Great Symphony in C major, and while he was still correcting the second part of his Winterreise, Schubert died a young man, one month and fifteen days before his 32nd birthday.\u003cbr\u003e\u003cbr\u003eLet us go back to the beginning of 1828 (one year after the death of Beethoven on 26th March, 1827). As Brigitte Massin writes, “it was then that Schubert, in full possession and in full bloom of his creativity, was finally able to offer the world the first Great Symphony of his adult life, overcoming an accumulation of inner prohibitions and years of hesitation to triumph in this field. It was his Ninth or Tenth Symphony, and he was 31 years old. By way of comparison, at almost the same age (29) Beethoven composed his First Symphony.”\u003cbr\u003e\u003cbr\u003e“And yet,” continues Brigitte Massin, “the Symphony in C major is more properly a continuation of the Unfinished Symphony in B minor, of which it appears to be the culmination, than a continuation of any of his other previous symphonies. Compared with its predecessors, the Symphony in C major attempted to translate into symphonic expression the depths of introverted thought, whereas the six preceding symphonies were extrovert in nature. The Symphony in C major resolves the contradiction that Schubert had found to be irreconcilable at the time of writing his Symphony in B minor: to translate, accustomed as he was to the simplicity and psychological refinement of the lied, the mystery of the inner world by means of symphonic language. […] The structural similarity between the first nine bars of the two works (and of course beyond them) is so striking that it suggests a need, perhaps unconscious but also perhaps conscious, to take up the challenge that the incompleteness of the Symphony in C major poses for the composer. Meeting that challenge and ultimate victory would be found in the transfiguration of B minor into C major.”\u003cbr\u003e\u003cbr\u003eJORDI SAVALL\u003cbr\u003eStainz-Fontfroide, July, 2022\u003cbr\u003eTranslated by Jacqueline Minett\u003c\/p\u003e","brand":"ALIA VOX","offers":[{"title":"Default Title","offer_id":44274373820666,"sku":"8435408099509","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/4123576-2866551.jpg?v=1686345536"},{"product_id":"beethoven-piano-sonata-8-14-17","title":"Beethoven: Piano Sonatas 8 \"Pathetique\", 14 \"Tempest\", 17 \"Moonlight\" - Christina Ortiz (Hybrid SACD)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_979e49e8-d8e2-4846-9ee5-761afb1c529a_480x480.png?v=1687342885\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano Sonata No. 8 In C Minor, Op. 13 'Pathétique'\u003c\/strong\u003e \u003cbr data-mce-fragment=\"1\"\u003e1 I. Grave - Allegro di molto e con brio\u003cbr data-mce-fragment=\"1\"\u003e2 II. Adagio cantabile\u003cbr data-mce-fragment=\"1\"\u003e3 III. Rondo: Allegro\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003ePiano Sonata No. 17 In D Minor, Op. 31 'Tempest'\u003c\/strong\u003e \u003cbr data-mce-fragment=\"1\"\u003e9 I. Largo - Allegro\u003cbr data-mce-fragment=\"1\"\u003e10 II. Adagio\u003cbr data-mce-fragment=\"1\"\u003e11 III. Allegretto\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003ePiano Sonata No. 14 In C Sharp Minor, Op. 27 No. 2 'Moonlight'\u003c\/strong\u003e \u003cbr data-mce-fragment=\"1\"\u003e15 I. Adagio sostenuto\u003cbr data-mce-fragment=\"1\"\u003e16 II. Allegretto\u003cbr data-mce-fragment=\"1\"\u003e17 III. Presto agitato\u003c\/p\u003e","brand":"ROYAL PHILHARMONIC","offers":[{"title":"Default Title","offer_id":44290041512186,"sku":"4011222228048","price":7.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/51qWubTj7eL.jpg?v=1687345234"},{"product_id":"mozart-violinkonzerte-3-5","title":"Mozart: Violin Concertos No. 3 \u0026 5 - Jonathan Carney, Royal Philharmonic (Hybrid SACD)","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/officialTRACKLISTINGWITHWORLD_979e49e8-d8e2-4846-9ee5-761afb1c529a_480x480.png?v=1687342885\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eViolin Concerto No. 5 In A Major, Kv 219\u003c\/strong\u003e \u003cbr data-mce-fragment=\"1\"\u003e1 I. Allegro Aperto\u003cbr data-mce-fragment=\"1\"\u003e2 II. Adagio\u003cbr data-mce-fragment=\"1\"\u003e3 III. Rondeau. Tempo Di Menuetto. Allegro\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eViolin Concerto No. 3 In G Major, Kv 216\u003c\/strong\u003e \u003cbr data-mce-fragment=\"1\"\u003e4 I. Allegro\u003cbr data-mce-fragment=\"1\"\u003e5 II. Adagio\u003cbr data-mce-fragment=\"1\"\u003e6 III. Rondeau: Allegro\u003cbr data-mce-fragment=\"1\"\u003e- \u003cbr data-mce-fragment=\"1\"\u003e7 \u003cstrong\u003eAdagio In E Major, Kv 261\u003c\/strong\u003e\u003c\/p\u003e","brand":"ROYAL PHILHARMONIC","offers":[{"title":"Default Title","offer_id":44290043347194,"sku":"4011222228550","price":7.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/Ny0xNzYxLmpwZWc.jpg?v=1687445648"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/collections\/hybrid_SACD_background.png?v=1681918829","url":"https:\/\/classicselectworld.com\/collections\/hybrid-sacds.oembed?page=3","provider":"ClassicSelect World","version":"1.0","type":"link"}