Philharmonia Baroque Orchestra (Nicholas McGegan) – Concerti Grossi, Op. 6, Nos. 7-12 8 (Corelli) (1990)

FrontCover1The Philharmonia Baroque Orchestra (PBO) is an American orchestra based in San Francisco. PBO is dedicated to historically informed performance of Baroque, Classical and Romantic music on original instruments. The orchestra performs its subscription series in the following cities and venues:

San Francisco: Herbst Theatre
Berkeley: First Congregational Church of Berkeley
Stanford: Bing Concert Hall
Palo Alto: First United Methodist Church

Laurette Goldberg, a harpsichordist, teacher, and pupil of Gustav Leonhardt, founded the PBO in 1981. She stood down as the ensemble’s music director in 1985 and chose Nicholas McGegan as her successor. McGegan served as PBO music director from 1985 through 2020. During McGegan’s tenure, the Philharmonia Chorale was established in 1995 as the affiliated chorus with the PBO, under the direction of Bruce Lamott. McGegan now has the title of music director laureate with the PBO.

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In 2012, Richard Egarr first guest-conducted the PBO. Following two additional guest appearances, in January 2019, the PBO announced the appointment of Egarr as its next Music Director, with an initial contract of 5 years. The original intention was for Egarr to serve as music director designate for the 2020-2021 season, and then to take the title of music director with the 2021-2022 season.[3] In the wake of the COVID-19 pandemic, the PBO reconfigured its 2020-2021 season into a virtual season, and announced the advent of Egarr as its music director effective 1 July 2020, one season earlier than originally planned.

Nicholas McGegan

The PBO has collaborated with such arts organisations as Cal Performances, the Centre de Musique Baroque de Versailles, and the New York Baroque Dance Company in the fully staged, modern-day premiere of Rameau’s Le Temple de la Gloire in April 2017. PBO regularly partners with the Mark Morris Dance Group.

The PBO has commercially recorded for such labels as Harmonia Mundi, Reference Recordings and BMG and Avie. The ensemble initiated its own label, Philharmonia Baroque Productions, in 2011. On radio, the PBO has been regularly featured on KDFC-FM. (wikipedia)

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And here they perform an important concert work by Arcangelo Corelli

Arcangelo Corelli (17 February 1653 – 8 January 1713) was an Italian composer and violinist of the Baroque era. His music was key in the development of the modern genres of sonata and concerto, in establishing the preeminence of the violin, and as the first coalescing of modern tonality and functional harmony.

Engraving of a bust of Corelli from the title page of
his Twelve Concerti Grossi, Op.6 (pub. 1714):
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He was trained in Bologna and Rome, and in this city he developed most of his career, due also to the protection of great patrons. Even if his entire production is limited to just six collections of published works — five of which are composed of Trio Sonatas or solo and one by Concerti grossi — he achieved great fame and success throughout Europe, also crystallizing models of wide influence.

His writing was admired for its balance, refinement, sumptuous and original harmonies, for the richness of the textures, for the majestic effect of the theatricality and for its clear, expressive and melodious polyphony, a perfect quality of classical ideals, although belonging to the baroque epoch and often employing resources typical of this school, such as the exploration of dynamic and expressive contrasts, but always tempered by a great sense of moderation. He was the first to fully apply, with an expressive and structuring purpose, the new tonal system, consolidated after at least two hundred years of experimentation.

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As a virtuoso violinist he was considered one of the greatest of his generation and contributed, thanks to the development of modern playing techniques and to his many disciples scattered throughout Europe, to place the violin among the most prestigious solo instruments and was also a significant figure in the evolution of the traditional orchestra.

A dominant figure in Roman musical life and internationally highly regarded, he was desired by many courts and was included in the most prestigious artistic and intellectual society of his time, the Pontifical Academy of Arcadia. He was known in his time as “the new Orpheus”, “the prince of musicians” and other similar adjectives, great folklore was generated around his figure and his fame did not diminish after his death. Even today his work is the subject of a voluminous critical bibliography and his sonatas are still widely used in musical academies as didactic material as well as pieces capable of affirming themselves in today’s concert repertoire. His position in the history of Western music is considered crucial, being recognized as one of the greatest masters at the turn of the XVII and XVIII century, as well as one of the earliest and greatest classicists. (wikipedia)

Arcangelo Corelli01Twelve concerti grossi, Op. 6, is a collection of twelve concerti written by Arcangelo Corelli probably in the 1680s but not prepared for publication until 1714. They are among the finest and first examples of concerti grossi: concertos for a concertino group (here a 1st violin, a 2nd violin and a cello) and a ripieno group of strings with continuo.

Their publication – decades after their composition and after Italian composers had moved to favor the ritornello concerto form associated with Vivaldi – caused waves of concerto grosso writing in Germany and England, where in 1739 Georg Frideric Handel honored Corelli directly with his own “Opus 6” collection of twelve. (wikipedia)

NotesThis album is really fantastic. The performance, the sound, the music is really beautiful. The Philharmonia Baroque Orchestra conducted by Nicholas McGegan is magnific. Simply bravo! (Manuel Carranza Cueto)





Concerto No. VII In D Major:
01 Vivace-Allegro-Adagio 1.56
02 Allegro 1.57
03 Andante Largo 1.54
04 Allegro 1.02
05 Vivace 1.02

Concerto No. VIII In G Minor (“Christmas Concerto”);
06 Vivace-Grave. Arcate sostenuto e come stà 1.12
07 Allegro 2.13
08 Adagio-Allegro-Adagio 2.43
09.  Vivace 0.54
10. Allegro 2.13
11. Pastorale ad libitum: Lagro 2.47

Concerto No. IX In F Major:
12 Preludio: Largo 1.12
13 Allemanda: Allegro 2.28
14 Corrente: Vivace 1.30
15 Gavotta: Allegro 0.45
16 Adagio 0.26
17 Minuetto: Vivace 1.37

Concerto No. X In C Major:
18 Preludio: Andante Largo 1.42
19 Allemanda: Allegro 2.08
20 Adagio 0.36
21 Corrente: Vivace 2.27
22 Allegro 2.29
23 Minuetto: Vivace 1.40

Concerto No. XI In B flat Major:
24 Preludio: Andante Largo 2.04
25 Allemanda: Allegro 2.17
26 Adagio-Andante Largo 1.37
27 Sarabana: Largo 0.50
28 Giga: Vivace 1.11

Concerto No. XII In F Major:
29 Preludio: Adagio 1.42
30 Allegro 2.20
31 Adagio 1.14
32 Sarabanda: Vivace 0.53
33 Giga: Allegro 2.54

Music: Arcangelo Corelli



Liner Notes

The official website:

Maurice André – Trompettissimo (1995)

FrontCover1Maurice André (born 21 May 1933 – 25 February 2012) was a French trumpeter, active in the classical music field.

He was professor of trumpet at the Conservatoire National Supérieur de Musique in Paris where he introduced the teaching of the piccolo trumpet including the Baroque repertoire on trumpet. André has inspired many innovations on his instrument and he contributed to the popularization of the trumpet.

André was born in Alès in the Cévennes, into a mining family. His father was an amateur musician; André studied trumpet with a friend of his father, who suggested that André be sent to the conservatory. In order to gain free admission to the conservatory, he joined a military band. After only six months at the conservatory, he won his first prize.

At the conservatory, André’s professor, Raymond Sabarich, reprimanded him for not having worked hard enough and told him to return when he could excel in his playing. A few weeks later, he returned to play all fourteen etudes found in the back of Arban’s book to a very high standard. Sabarich later said that “it was then that Maurice Andre became Maurice Andre.” Maurice André won the Geneva International Music Competition in 1955, together with Theo Mertens, and the ARD International Music Competition in Munich in 1963. He was made an honorary member of the Delta chapter of Phi Mu Alpha Sinfonia at Ithaca College in New York in 1970.


André rose to international prominence in the 1960s and 1970s with a series of recordings of baroque works on piccolo trumpet for Erato and other labels. He also performed many transcriptions of works for oboe, flute, and even voice and string instruments. André had over 300 audio recordings to his name, from the mid-1950s to his death.

André had three children: Lionel (1959-1988) trumpeter and music teacher; Nicolas, who plays the trumpet; and Béatrice, who plays the oboe. All three performed with their father in concert. He also made several recordings with his brother Raymond (b. 1941).

One of André’s students, Guy Touvron, wrote a biography entitled Maurice André: Une trompette pour la renommée (Maurice André: A Trumpet for Fame), which was published in 2003.

André spent the last few years of his life in retirement in southern France. He died at the age of 78 in a hospital in Bayonne on 25 February 2012. He is buried in the cemetery of the village of Saint-André-Capcèze (in the Lozère). (by wikipedia)


At the height of his career, the name of Maurice André was synonymous with the trumpet. Not only was he largely responsible for establishing the trumpet as a popular solo instrument, but he also dominated the scene in the 1960s and 70s with a punishing schedule of concerts (an average of 180 a year) and more than 300 recordings, many made on his trademark piccolo trumpet.

André’s eventual success was founded on a solid technique, superb breath control and seemingly inexhaustible stamina, attributed by him to his years in the coalmine: “I built myself up when working in the mine at 14 years old, when I was moving 17 tons of coal a day,” he once said.


Certainly the technique was formidable. Playing a three-valve Selmer instrument (a fourth valve was added by the manufacturer in 1967 in collaboration with André to extend the register downwards), he effortlessly negotiated the stratospheric pitch range for which the Baroque repertoire was notorious. In the virtuoso faster movements, his tone sparkled brilliantly; in the slow movements it was creamy and seductive. As Karajan once opined: “He’s undoubtedly the best trumpet player, but he’s not from our world.” (

So … it´s time to listen to Maurice Andrea again … and again … and again …. He was brilliant !


Maurice Andre (trumpet)
Wolfgang Karius (organ)
Guy Perdersen (bass)
Jean-Marc Pulfer (organ)
Gus Wallez (drums)
Harmonia Nova (on 01.):
Jean-Francois Jenny-Clark (bass)
Niels Lan Doky (clavecin, harpsichord, cembalo)
Daniel Humair (drums)



Marc-Antoine Charpentier:
01. Te Deum – Introduction 4.44

Johann Sebastian Bach:
Suite/Ouverture N°3 BWV 1068:
02. Air 3.24
03. Gavotte 1.19

Kantate BWV 78:
04. Aria pour 2 Trompettes 2.23
05. Suite/Ouverture N°2 BWV 1067 – Badinerie 1.25
06. Kantate BWV 140 -Choral “Wachet auf, ruft uns die Stimme” 2.17
07. Suite/Ouverture N°2 BWV 1067 – Bourrées I & II 2.11

Antonio Vivaldi:
08. Le Quattro Stagioni – Largo 3.22

Johann Sebastian Bach:
09. Brandenburgisches Konzert – NR. 3 BWV 1048 – Allegro 2.15

Benedetto Marcello:
10. Adieu Venise 4.14

Arcangello Corelli:
11. Allemande 2.30

Jean-Michel Defaye:
12. Fugatissimo 2.21

Georg Friedrich Händel:
13. Allegro 2.40

Domenico Cimarosa:
14. Melodie 2.58

Georg Friedrich Händel:
15. Water Music – Aria 2.41



Maurice André (21 May 1933 – 25 February 2012)

Herbert von Karajan – Christmas Adagio (1977)

KarajanChristmasAdagioFCThis is a christmas compilation of maestro Herbert von Karajan recorded betwenn the years 1968 – 1977.
Enjoy these wonderful compositions from the baroque era of classic music.You don´t have to believe in God to feel the spiritual dimensions of this music.

Berliner Symphony Orchestra conducted by Herbert von Karajan

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Guiseppe Torrelli: Christmas concerto op. 8 no. 6 (9.17)
01. Grave – Vivace 3.47
02. Laego 3.40
03. Vivace 1.50

Ottorino Respighi:
04. Siciliana (from Ancient airs and dances for lute) 3.39

Francesco Manfredini: Christmas Concerto op.3 No. 12 (10.57)
05. Pastorale (Largo) 5.01
06. Largo 2.58
07. Allegro 2.58

Georg Friedrich Haendel:
08. Musette (from Concerto grosso op. 6 no. 6) 7.36

Pietro Locatelli: Concerto grosso op. 1 no. 8 (19.44)
09. Largo – Grave 3.44
10. Vivace 1.32
11. Grave 2.09
12. Largo Andante 5.14
13. Andante 2.23
14. Pastoral – Andante 4.42

Arcangello Corelli: Christmas concerto op 8. no. 8 (16.44)
15. Vivace – Grave – Allegro 4.32
16. Adagio – Allegro – Adagio 3.49
17. Vivace 1.26
18. Allegro 1.53
19. Pastorale (Largo) 5.04

Franz Xaver Gruber:
20. Silent Night 2.57