Advantages: fantastic dance music Disadvantages: getting a copy
...sackbuts, organ, tabor, bass drum, tambourine.
35, Den XV Galliard le tout [1'37"]
2 cornetts, 3 sackbuts, 2 violins, 3 viols, 7 recorders, curtal, organ, regal, harpsichord, 5 guitars, tabor, side drum, bass drum, tambourine.
36, Danse du roi/Reprise {2'26"]
2 violins, 3 viols, harpsichord, organ, tabor, tambourine.
37, Entre du fol [1'06"]
gemshorn, rebec, cittern, contrebass viol, rommelpot, shaker.
38, La Morisque {1'56"]
2 cornetts, 4 sackbuts, 2 violins, 4 viols, rauschpfeife, 3 shawms, curtal, 3 recorders, organ, regal, harpsichord, 5 guitars, tabors, jingle bells, tambourine, cymbals.
As you will note some of the tracks are very short. However as the tunes move from one to another quickly in the Den section, it would appear that there are various groups of musicians just...
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Advantages: Brilliant, stirring, excitingly unpredictable, fresh performance; "genius" is not hyperbole in Argerich's case. Disadvantages: Reflecting its LP origins, the CD lasts only 50' 16"!
....
Born in Argentina in 1941, Argerich debuted on the stage at age five, giving recitals in Buenos Aires while receiving lessons from "a despot with sadistic tendencies," as she refers to the Italian maestro, Vincenzo Scaramuzza. Her family moved shortly thereafter to Vienna, so the young pianist could study with the well-known teachers of Europe. There she first came under the tutelage of Friedrich Gulda, a highly respected interpreter of Bach, Mozart and Beethoven, and a classical musician who also delved into jazz.
As a child, she was a very reluctant pianist, and tried to avoid practice sessions. As an adult, she has expressed her deep dislike not of *playing the piano*, but of living the life of a concert pianist. She has claimed that her piano practising has never been systematic.
In one of her rare interviews, Argerich tells...
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Advantages: Beautiful relaxing music. Rich instrumentation. Played with passion. Disadvantages: Not all instruments are from the period.
...by Bach. This was not always the case however. They were originally not very well received. Johann Sebastian Bach, one of the giants of the baroque period, presented the set of concertos as a gift to the Margrave Christian Ludwig of Brandenburg in 1721. The Margrave never even acknowledged the gift let alone thanked Bach for his work. For the next thirteen years, the concertos were to languish in the marquis' library untouched. It was only on his death, that they were then released and shared with the public.
There are many, many recordings of the Brandenburg concertos. This particular album is a 1959 recording of Yehudi Menuhin and the Bath Festival Orchestra published in May, 1995 by Emi Classical. Can a recording from nearly 50 years ago possibly stand the test of time? The simple answer is yes it can and does so superbly.
Baroque works...
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13.04.2005
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13.04.2006
