Vanessa Mae – The Violin Player (1995)

frontcover1The Violin Player is the first techno/pop album by classical and pop musician Vanessa-Mae, released in 1995. It is the first album Vanessa-Mae released on the EMI label. The album was produced by Mike Batt, and recorded and mixed by Gareth Cousins, who also programmed the synthesisers and beats for the album.

The Violin Player features a varied blend of music – covers of some classical (J.S. Bach’s Toccata and Fugue in D minor), remakes of old favourites (including American composer Mason Williams’ “Classical Gas”) and originals (seven tracks composed by British musician and songwriter Mike Batt), and one original by Vanessa-Mae herself, co-written with Ian Wherry (“Red Hot”).
Singles released from the album include “Toccata and Fugue”, which reached number 16 in the UK Singles Chart and “Red Hot” which reached number 37.
The Violin Player reached #11 in the UK Albums Chart in February 1995, and was certified Gold by the BPI in June 1995. It has sold over 8 million copies worldwide, and is still regarded by many as Vanessa-Mae’s best work. (by Wikipedia)

Vanessa-Mae was just a teenager when her major-label debut, The Violin Player, was released. This may account for her ability to successfully fuse old-world classical styles with a contemporary new age sensibility. She comes out scorching on the Bach classic “Toccata and Fugue in D Minor,” showing off her world-class talent as a revolutionary violinist. The new arrangements by producer Mike Batt add a flavorful world music appeal that both compliments and showcases her masterful skill. While all ten tracks are performed as instrumentals, Vanessa-Mae manages to squeeze every ounce of passion out of a note, transcending the necessity for lyrics. Her ability to play off of other instruments is brought to the forefront on the final track “Red Hot.” She goes toe to toe with a forceful electric guitar and her four-string violin leaves the challenging six-string in the dust. This record will delight those who are bold enough to challenge themselves by listening to a collection of songs that defy standard genre classifications. (by Erik Crawford)

And you´ll hear one of my favourite guitar players: Dave “Clem” Clempson !
EMMA Awards Vanessa Mae
Personnel:
Mike Batt (Keyboards)
Martin Bliss (guitar)
Dave “Clem” Clempson (guitar)
Dick Morgan (oboe)
Richard Morgan (oboe)
Maurice Murphy (rumpet)
Philip Todd (saxophone)
Unspecified Enemies  Composer
Vanessa-Mae (violin)
Vasko Vassilev (viola, violin)
Ian Wherry (Keyboards)
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Royal Philharmonic Orchestra
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Tracklist:
01. Toccata and Fugue in D Minor (Bach) 7.47
02. Contradanza (Batt) 3.49
03. Classical Gas (Williams) 3.21
04. Theme from ‘Caravans’ (Batt) 5.06
05. Warm Air (Batt) 3.38
06. Jazz Will Eat Itself (Batt) 3.30
07. Widescreen (Batt) 3.58
08. Tequila Mockingbird (Batt) 3.26
09. City Theme (Batt) 4.32
10. Red Hot (Wherry/Mae) 3.16
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The CD singles

Various Artists – Pianissimo – Music For Quiet Moments (1998)

frontcover1Only in the silence can music touch a chord within us, and create a distant echo. And it is through the silence that the piano can open and blossom with it incomparable voice, and the vibration of it strings melt into melody.

Since the invention of the modern Pianoforte in the 18th century, composers have again and again been inspired by its special sensibilities, and the capacity of this Instrument to encompass the slightest expressive nuances and translate them into Sound.

On this album you will find a collection of the loveliest piano melodies in musical history: Whether the Adagio sosenuto from Beethoven´s Moonlight Sonata, or the Largo from his Piano Concerto, whether Listz´s Liebestraum, or Schumann´s Träumerei, the Adagio from Grieg´s  Piano Concerto or Chopin´s Nocturne, all show how this instrument has struck a chord in these Composers (Georg Stänzel; taken from the original liner notes)

Enjoy the sounds of silence !

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Tracklist:
01. Alfredo Perl: Adagio Sostenuto (Beethoven)  6.02
02. Jena Philharmonic Orchestra: Largo (Beethoven) 10.41
03. Ricardo Castro: Adagio (Mozart) 4.14
04. Carmen Piazzini: Adagio (Haydn) 5.00
05. Nadja Rubanenko: Sehr langsam (Schumann) 4.13
06. Alfredo Perl: Adagio (Grieg) 6.52
07. Carmen Piazzini:  Danza Del Moza Donosa (Ginastera) 3.26
08. Carmen Piazzini:  Cancion De Las Venusinas (Piazolla) 3.26
09. Arkady Sevidov: Barcarolle (Tchaikovsky) 5.16
10. Ricardo Castro: Nocturne No. 1 Op. 9/1 (Chopin)  5.35
11. Michael Krücker: Liebestraum Op. 62 No. 3/Poco Allegretto Con Affetto (Liszt) 4.40
12. Andreas Bach: Träumerei (Schumann) 2.17
13. Russian Philharmonic Orchestra + Vladimir Mishtchuk: Adagio Sostenuto (Rachmaninov) 11.38

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Another quiet moment
(I shoot this picture near Berchtesgaden (Bavarian Alps) in october 2009)

Quartetto Klimt – Quartetti Con Pianoforte (2000)

frontcover1Formed in 1995 at the Scuola di Musica di Fiesole, the Klimt Quartet is today one of the most interesting young chamber music groups in Italy. Since its foundation it has performed in numerous concerts including prestigious Festivals in Italy and abroad. Between 1997-1999 the quartet attended for two years the master classes held by Trio di Milano in Fiesole; since 2000 the quartet has studied for various years with M.° Pier Narciso Masi. In April 1998 the quartet won first prize at the International Chamber Music Competition “Gaetano Zinetti” at Sanguinetto (VR).
A few months after its foundation the quartet was invited by: “Encontre Internationale des Enseignements Artistiques” organized by the Institute de le Marionette a Charleville-Meziéres (France); the Orchestra Giovanile Italiana ad Aosta; the “Ater Festival” in Rimini; and by the “Elba Isola Musicale d’Europa” Festival, where it captured the attention of the great Yuri Bashmet.
The following years have seen the group participating in prestigious musical seasons among which “Lingotto Musica” in Turin, the “Festival di Ravello”, “Musica Insieme” in Bologna and at the Bologna Festival, “Amici della Musica” in Florence, “Amici della Musica” in Perugia, the “Accademia Filarmonica Romana” in Rome, the “Serate Musicali di Milano”, the “Festival Mozart” in Rovereto. The quartet has also played a leading part in numerous live television and radio performances for the RAI (Radio Televisione Italiana).

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In these years of intense activity, the quartet has benefited from the advice and support of artists such as Carlo Maria Giulini, Natalia Gutman and Maurizio Pollini; the latter invited Klimt to perform during the award ceremony of “Una vita nella Musica” in 1999 in Venice, and in 2001 gave them the scholarship “Arturo Benedetti Michelangeli”. In April 2001 the quartet inaugurated the first edition of “I Concerti del Quirinale” in Rome; in July 2001 the Klimt Quartet was invited to the prestigious “Oleg Kagan Musikfest di Kreuth” (Germany) and the “Festival of Santander” (Spain).
In 2010 the prestigious magazine Amadeus published the two quartets for piano and strings by Robert Schumann performed by the Klimt Quartet and was later invited by the RAI to perform these pieces live for Euroradio for the bicentenary of Schumann’s birth. In 2011 it has been invited by Columbia University in New York, gaining a warm success by audience and press.
In recognition of Klimt’s unfailing, passionate commitment to the promotion and diffusion of contemporary music, various composers, such as A.Solbiati, F.Antonioni, M.D’Amico and I. Vandor have dedicated compositions to the Quartet.
Since 2008 the violinist of the group has been Duccio Ceccanti. (by livornomusicfestival.com)

And this is the debut album …. what a great debut album, recorded by this young Italian ensemble … if you like classic music (like me) … you should listen … what a unbelieveable sound !

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Personnel:
Lorenza Borrani (violin)
Matteo Fossi (piano)
Alice Gabbiani (violincello)
Edoardo Rosadini (viola)

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Tracklist:

 Johannes Brahms: Quartetto op. 25 in sole minore:
01. Allegro 13.09
02. Intermezzo 7.40
03. Andante con moto 9.11
04. Rondo alla zingarese 8.51

Robert Schumann: Quartetto op. 47 in Mib maggiore:
05. Sostenuto assai – Allegro ma non troppo 9.30
06. Scherzo – molto vivace 3.49
07. Andante cantabile 7.23
08. Finale – vivace 8.01

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Franz Benda – Violin Concertos (2009)

frontcover1Franz Benda or Czech: František Benda (baptised 22 November 1709, Benátky nad Jizerou – 7 March 1786, Potsdam) was a Bohemian violinist and composer, who worked for much of his life at the court of Frederick the Great.

Benda was born in Benátky nad Jizerou in Bohemia, the son of Jan Jiří Benda. His brother was the composer Jiří Antonín Benda (Georg Anton Benda). Benda’s daughter Juliane Reichardt (1752–1783) and his granddaughter Louise Reichardt (1779–1826) were also composers. Benda wrote his autobiography in 1763: it not only gives a detailed account of his own life but also a valuable record of the lives of other musicians whom he encountered during his career.

In his youth Benda was a chorister in Prague and afterward in the Chapel Royal at Dresden. At the same time he began to study the violin, and soon joined a company of strolling musicians who attended fetes, fairs, etc. At eighteen years of age Benda abandoned this wandering life and returned to Prague, going to Vienna, where he pursued his study of the violin under Johann Gottlieb Graun, a pupil of Tartini. After two years he was appointed chapel master at Warsaw. In 1732, he entered the service of Frederick the Great, then crown prince of Prussia, with whom he remained the rest of his life. He was a member of the crown prince’s orchestra, and later became concertmaster to the king. He played about 50,000 concertos over a period of forty years. At Benda’s request, Frederick allowed his parents and siblings to move to Potsdam when, as Protestants, they suffered religious persecution in Bohemia.

Benda was a master of all the difficulties of violin playing, and the rapidity of his execution and the mellow sweetness of his highest notes were unequalled. He had many pupils and wrote a number of works, chiefly exercises and studies for the violin.

Benda died in the Nowawes, a small colony near Potsdam set up by Frederick the Great to house Protestant refugees fleeing religious persecution in Bohemia.
Legacy
Descendants of Benda also continue in the same musical line. In the 20th century, František Benda was a composer of film scores and other works. The Benda Chamber Orchestra, which carries and honours the name of the Benda musical family, was founded in 1956 in Ústí nad Labem, Northern Bohemia (Czech Republic). (by wikipedia)

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Benda family house in Benátky nad Jizerou, built 1706/07, demolished 1936.

Benda was one of the most illustrious, possibly the single most illustrious, Czech violinist of the eighteenth century. Yet fewer than twenty concertos of his concertos for his own instrument have survived. The intimate nature of the music making suits the performances, and indeed the nature of the compositions themselves. These are pleasantly old-fashioned, more akin to Vivaldi than an Italian contemporary like Tartini – akin to Vivaldi, yes, in a sense, but rather lacking the flair, panache, colour and hubristic danger of Vivaldi.

franz-bendaWhich is not to suggest that they are not worthy or exciting in their own way. The C major has a forceful first movement, but the slow movement remains in the memory more for its character than for any true melodic distinction. The finale is probably the finest of the three movements, fizzing with energy and clever contrasts between ritornellos and the vivid, slashing solo violin. Here, for sure, one feels the impress of Vivaldi’s spirit. Here, too, one can tentatively gauge just what sort of virtuoso Benda must have been. The confident, fluent, Italianate lyricism that floods the E flat major is aerial in its finesse, showy in places, whilst not achieving much true distinction. Someone else added extraneous parts to the D major – let’s name him; Johann Georg Pisendel, who was a friend, and led the Dresden court orchestra which, because it was larger than the orchestra for which Benda wrote, needed something ‘extra’ to play. Finally there is the later A minor Concerto, a rather more ‘affetuoso’ work with a melancholy cadenza. Here we find Benda being just a touch too liberal with his expressive caesurae, just a little artificial and over gallant. The finale, though, is rollicking good fun.

Benda’s violin music is highly accomplished and highly polished. I can’t say it’s desperately original, nor is it always melodically special, but it’s well presented here. (by Jonathan Woolf)

booklet03aPersonnel:
Roman Patocka – violin
Prague Chamber Orchestra

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Tracklist:

Concerto for Violin and Orchestra in A major: (14.15)
01. I. Senza tempo 6.08
02. II. Adagio poco andante 3.58
03. III. Presto 4.10

Concerto for Violin and Orchestra in E flat major: (17.16)
04. I. Allegretto 6.57
05. II. Affetuoso ma non troppo. Lento 5.20
06. III. Presto assai 4.52

Concerto for Violin and Orchestra in C Major: (19.59)
07. I. Allegro 6.52
08. II. Adagio 6.11
09. III. Presto 6.53

Concerto for Violin and Orchestra in D Major: (20.18)
10. I. Allegro 8.22
11. II. Largo 6.18
12. Allegro 5.37

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John Renbourn – The Lady And The Unicorn (1970)

FrontCover1The Lady and the Unicorn is the 1970 solo album by British folk musician John Renbourn. On this release, Renbourn ventures into folk rock and medieval music territory. The first four tracks are arranged from the Add MS 29987 manuscript. The cover was taken from The Lady and the Unicorn tapestry. (by wikipedia)

Renbourn’s last solo album for the next six years overlaps with his Pentangle work, featuring Terry Cox playing hand drums and glockenspiel, with future John Renbourn band member Tony Roberts and violinist Dave Swarbrick. The repertory consists of medieval and early classical pieces, interspersed with the expected folk material — keyboard works from the Fitzwilliam virginal book (transcribed for guitar) stand alongside traditional tunes such as “Scarborough Fair,” which turns up as part of an 11-minute track that also incorporates “My Johnny Was a Shoemaker,” with Swarbrick at the top of his form on violin. The album is entirely instrumental, but as with other Renbourn releases, one hardly misses the vocals. (by Bruce Eder)

John Renbourn

Taken from the original liner-notes:

This record contains a variety of instrumental pieces including medieval music, folk tunes and early classical music. The oldest are probably the English dance tune ‘Trotto’ and the Italian ‘Saltarello’, to which I have added a drone accompaniment, tuning the guitar to DGDGCD. ‘Lamento di Tristan’ and ‘La Rotta’ are fourteenth century Italian pieces played originally on vielle. They too are without harmony but have the tune doubled either on sitar or glockenspiel.
The three part conductus ‘Veri Floris’, composed during the Notre Dame period, is a setting for the words ‘Under the figure of the true flower which the pure root produced, the loving devotion of our clergy has made a mystical flower constructing an allegorical meaning beyond ordinary useage from the nature of a flower”.
This is followed by the triple ballade ‘Sancuer-Armordolens-Dameparvous’ of Guillaume de Machaut.
‘Bransle Gay’ and ‘Bransle de Bourgogne’ are from the danceries of Claude Gervaise, composed in about 1550. The first is played on solo guitar but the second uses flute, fiddle and has a second guitar line added. The anonymous ‘Alman’ is taken from the Fitzwilliam Virginal Book and is followed by ‘Melancholy Galliard’ by the English lutanist John Dowland. The sequence concludes with the ‘Sarabande’ in B Minor by J. S. Bach.
The album ends with two short guitar pieces, ‘The Lady And The Unicorn’ and an arrangement of the sixteenth century song ‘Westron Wynde’, and arrangements for flute, viola and guitar of two folk songs: ‘My Johnny Was A Shoemaker’ and ‘Scarborough Fair’.
I have not presumed to reproduce early music as it would originally have been played, but hope nevertheless that the qualities of the music can be enjoyed, though interpreted on more recent instruments. (John Rebourn)

Such a beautiful album … a timeless classic recording !

John Renbourn2

Personnel:
Don Harper (violin)
Lea Nicholson (concertina)
John Renbourn (guitar)
Tony Roberts (flute)
Dave Swarbrick (violin)
Ray Warleigh (flute)

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Tracklist:
01.1. Trotto (Anonymous) 0.40
01.2. Saltarrello (Anonymous) 1.53
02.1.Lamento di Tristan (Anonymous) 1.58
02.2.La Rotta (Anonymous) 0.55
03.1.Veri Floris (Anonymous) 0.44
03.2. Triple Ballade (Sanscuer-Amordolens-Dameparvous) (de Machaut) 2.00
04.1.Bransle Gay (Gervaise) 1.13
04.2.Bransle de Bourgogne (Johnson) 1.34
05.1.Alman (Anonymous)1.25
05.2.Melancholy Galliard (Dowland) 2.47
06.Sarabande (Bach) 2.41
07.The Lady And The Unicorn (Renbourn) 3.21
08.1.My Johnny Was A Shoemaker (Traditional) 4.16
08.2.Westron Wynde (Traditional) 1.25
08.3.Scarborough Fair (Traditional) 7.22

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Martin Hegel – Viaje Espanol (2009)

FrontCover1Martin  Hegel grew up in a family of musisicans and first started playing at the age of 14.  Only two years later he was awarded first price in the Germany national music contest “Jugend musiziert”.

In 1994 he begann his studies under Prof. Ulrich Müller at the State Conservatory in Osnabrück. Subsequently he studied music at the Cologne College Of Music in the guitar class of Prof. Ansgar Krause, before attending the University of Fine Arts  in Berlin, where he studied under Prof. Martin Rennert. He was also awarded a scholarship with Prof. Konrad Ragnossig at the University of of Music and Fine Arts in Vienna and was invited to join Prof. Eliot Fisk´s class at the Mozarteum in Salzburg.

He graduaded in 2004 and passed his final concert with honors in 2008.

For his debut solo CD “viaje español”, the classical guitarist from Osnabrück has chosen the apt subtitle “four centuries of Spanish guitar music”. On it he takes the listener on a fascinating journey filled with the sounds of Spanish guitar music, from the Renaissance to the modern era. From the early days of the great composer Alonso Mudarra he moves on to the heyday with Dionisio Aguado. The journey ends with Joaquin Turina, a custodian of the original flamenco tradition. Martin Hegel successfully completed numerous masterclasses, among others with Manuel Barrueco and David Russel. This laid the basis for his sophisticated playing and cultivated tone and allows him to lend the works of these various composers a remarkable authenticity and fill them with radiant life. With “viaje español” he succeeds in communicating the fascination of classical guitar music to the listener.

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Personnel:
Martin Hegel (guitar)

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Tracklist:

Alonso Mudarra:
01. Gallarda  1.17
02. Romanesca 1.49
03. Fantasía 1.44

Dionisio Aguado:
04. Fandango Con Variaciones Op. 16 7,11
05. Mazurca 2.20

Francisco Tárrega:
06. Gran Vals 2.56
07. Capricho Árabe 4.47
08. Rosita 1.21

Federico Moreno Torroba:
09. Torrija 3.04
10. Nocturno 3.31
11. Burgalesa 2.37
12. Madroños 2.54

Antonio Ruiz-Pipó:
13. Canción Y Danza 3.55

Joaquín Turina:
14. Rafaga Op. 53 2.40
15. Fandanguillo Op. 36 4.48
16. Sevillana Op. 29 (fantasie) 5.40

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Heinz Holliger + I Musicia – Albinoni, Marcello & Vivaldi – Oboe Concertos (2012)

FrontCover1Tomaso Giovanni Albinoni (8 June 1671 – 17 January 1751) was an Italian Baroque composer. While famous in his day as an opera composer, he is mainly remembered today for his instrumental music, such as the concerti.

Born in Venice, Republic of Venice, to Antonio Albinoni, a wealthy paper merchant in Venice, he studied violin and singing. Relatively little is known about his life, especially considering his contemporary stature as a composer, and the comparatively well-documented period in which he lived. In 1694 he dedicated his Opus 1 to the fellow-Venetian, Cardinal Pietro Ottoboni (grand-nephew of Pope Alexander VIII); Ottoboni was an important patron in Rome of other composers, such as Arcangelo Corelli. His first opera, Zenobia, regina de Palmireni, was produced in Venice in 1694. Albinoni was possibly employed in 1700 as a violinist to Charles IV, Duke of Mantua, to whom he dedicated his Opus 2 collection of instrumental pieces. In 1701 he wrote his hugely popular suites Opus 3, and dedicated that collection to Cosimo III de’ Medici, Grand Duke of Tuscany.

In 1705, he was married; Antonino Biffi, the maestro di cappella of San Marco was a witness, and evidently was a friend of Albinoni. Albinoni seems to have no other connection with that primary musical establishment in Venice, however, and achieved his early fame as an opera composer at many cities in Italy, including Venice, Genoa, Bologna, Mantua, Udine, Piacenza, and Naples. During this time he was also composing instrumental music in abundance: prior to 1705, he mostly wrote trio sonatas and violin concertos, but between then and 1719 he wrote solo sonatas and concertos for oboe.

AlbinoniUnlike most composers of his time, he appears never to have sought a post at either a church or noble court, but then he was a man of independent means and had the option to compose music independently. In 1722, Maximilian II Emanuel, Elector of Bavaria, to whom Albinoni had dedicated a set of twelve concertos, invited him to direct two of his operas in Munich.

Around 1740, a collection of Albinoni’s violin sonatas was published in France as a posthumous work, and scholars long presumed that meant that Albinoni had died by that time. However, it appears he lived on in Venice in obscurity; a record from the parish of San Barnaba indicates Tomaso Albinoni died in Venice in 1751, of diabetes mellitus.

Most of his operatic works have been lost, largely because they were not published during his lifetime. However, nine collections of instrumental works were published. These were met with considerable success and consequent reprints. He is therefore known more as a composer of instrumental music (99 sonatas, 59 concerti and 9 sinfonia) today. In his lifetime these works were compared favourably with those of Corelli and Vivaldi. His nine collections published in Italy, Amsterdam and London were either dedicated to or sponsored by an impressive list of southern European nobility. Albinoni wrote at least fifty operas of which twenty-eight were produced in Venice between 1723 and 1740. Albinoni himself claimed 81 operas (naming his second-to-last opera, in the libretto, as his 80th). In spite of his enormous operatic output, today he is most noted for his instrumental music, especially his oboe concerti. He is the first Italian known to employ the oboe as a solo instrument in concerti (c. 1715, in his 12 concerti a cinque, op. 7) and publish such works, although earlier concerti featuring solo oboe were probably written by German composers such as Telemann or Händel. In Italy, Alessandro Marcello published his well known oboe concerto in D minor a little later, in 1717. Albinoni also employed the instrument often in his chamber works.

Albinoni2
His instrumental music attracted great attention from Johann Sebastian Bach, who wrote at least two fugues on Albinoni’s themes (Fugue in A major on a theme by Tomaso Albinoni, BWV 950, Fugue in B minor on a theme by Tomaso Albinoni, BWV 951) and frequently used his basses for harmony exercises for his pupils. Part of Albinoni’s work was lost in World War II with the destruction of the Dresden State Library. As a result, little is known of his life and music after the mid-1720s.

The famous “Adagio in G minor” for violin, strings and organ, the subject of many modern recordings, is by some thought to be a musical hoax composed by Remo Giazotto. However, a discovery by musicologist Muska Mangano, Giazotto’s last assistant before his death, brought up new findings. Among Giazotto’s papers, she discovered a modern but independent manuscript transcription of the figured bass portion and six fragmentary bars of the first violin, “bearing in the top right-hand corner a stamp stating unequivocally the Dresden provenance of the original from which it was taken”. This provides support for Giazotto’s account that he did base his composition on a source. (by wikipedia)

The oboe on these recordings was played by Heinz Holliger:

Heinz Robert Holliger (born 21 May 1939) is a Swiss oboist, composer and conductor.

Holliger was born in Langenthal, Switzerland, and began his musical education at the conservatories of Bern and Basel. He studied composition with Sándor Veress and Pierre Boulez. Holliger took first prize for oboe in the International Competition in Geneva in 1959.

He has become one of the world’s most celebrated oboists, and many composers (including Olivier Messiaen, Luciano Berio, Elliott Carter, Frank Martin, Hans Werner Henze, Witold Lutosławski, Karlheinz Stockhausen, Krzysztof Penderecki, and Isang Yun) have written works for him. He began teaching at the Hochschule für Musik Freiburg, Germany in 1966.

In 1972 Holliger, Maurice Bourgue (fr) (oboe), Klaus Thunemann (bassoon), and Christiane Jaccottet (continuo) et al. recorded the Six Trio Sonatas for Oboe and Bassoon by Jan Dismas Zelenka. This recording is credited for the “Zelenka Renaissance”.

Holliger has also composed many works in a variety of media. Many of his works have been recorded for the ECM label.

Heinz Holliger

Invited by Walter Fink, he was the 17th composer featured in the annual Komponistenporträt of the Rheingau Musik Festival in 2007 in chamber music and a symphonic concert that he conducted himself, including works of Claude Debussy and Robert Schumann along with his Lieder after Georg Trakl and Gesänge der Frühe on words of Schumann and Friedrich Hölderlin.

On the occasion of Paul Sacher’s 70th birthday, Holliger was one of twelve composer-friends of his who were asked by Russian cellist Mstislav Rostropovich to write compositions for cello solo using his name spelt out in German names for musical notes on the theme (eS, A, C, H, E, Re); Holliger contributed a Chaconne for Violoncello Solo. The compositions were partially presented in Zurich on 2 May 1976. The whole “eSACHERe” project was (for the first time in complete performance) performed by Czech cellist František Brikcius in May 2011 in Prague. (by wikipedia).

And he was accomponied ny the legendary I Musici ensemble:

I Musici (pronounced [iˈmuːzitʃi]), also known as I Musici di Roma, is an Italian chamber orchestra from Rome formed in 1951. They are well known for their interpretations of Baroque and other works, particularly Antonio Vivaldi and Tomaso Albinoni.

Among their engagements, the original Chamber Orchestra completed acclaimed tours of Southern Africa 1956, and again in 1967, with a few replacement performers

In the 1970s, I Musici recorded the first classical music video and, later, the group was the first to record a compact disc for the Philips label.

One of their founding members and first violin, Felix Ayo, is still active as of 2012. (by wikipedia)

This is a reference album of the baroque oboe, with additional works by Alessandro Marcello and Antonio Vivaldi: What a unique sound … Another chance to discover the magic of this music !

 

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I Musici during the Sixties

Personnel:
Maurice Bourgue (oboe)
Maria Teresa Garatti (harpsichord)
Heinz Holliger (oboe)
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I Musici

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Tracklist:

Tomaso Albinoni: Concerto a 5 in D minor, Op.9, No.2 for Oboe, Strings, and Continuo:
01. Allegro e non presto 4.08
02. Adagio 5.22
03. Allegro 2.52

Tomaso Albinoni: Concerto a 5 in F, Op.9, No.3 for 2 Oboes, Strings, and Continuo:
04. Allegro 4.55
05. Adagio 3.09
06. Allegro 3.50

Alessandro Marcello: Oboe Concerto in D minor:
07. Andante e spiccato 3.32
08. Adagio 4.23
09. Presto 3.45

Tomaso Albinoni: Concerto a 5 in G minor, Op.9, No.8 for Oboe, Strings, and Continuo:
10. Allegro 4.24
11. Adagio 2.39
12. Allegro 4.03

Tomaso Albinoni: Concerto a 5 in C, Op.9, No.9 for 2 Oboes, Strings, and Continuo:
13. Allegro 4.08
14. Adagio 3.18
15. Allegro 3.42

Antonio Vivaldi: Oboe Concerto in C, R.446:
16. Allegro 3.15
17. Adagio 3.36
18. Allegro 2.01

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