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" ", "-" , , -

1.L' Enfant prodigue, scene lyrique for voices & orchestra, L. 57

  The Prodigal Son

  Jessye Norman, Jose Carreras, Dietrich Fischer-Diskau

2.Demoiselle elue, for soprano, mezzo-soprano, female chorus, & orchestra, L. 62

  The Blessed Damozel

  Ileana Cotrubas, Glenda Maurice

Chor und Radio-Sinfonieorchester Stuttgart  dirigent Cary Bertini

: WMA (lossless)

: 201

: http://files.mail.ru/BPBVJK

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David Oïstrakh - Prokofiev - Violin Concerto No.1 & 2, Violin Sonata

Classical | MP3 320 Kbps 166 MB + APE 263 MB
EMI Records Ltd 2008


01. Prokofiev - Violin Concerto N in D major Op.19 - I. Andantino [Lovro von Matacic, London Sym.Orch; 1954]
02. Prokofiev - Violin Concerto N in D major Op.19 - II. Scherzo
03. Prokofiev - Violin Concerto N in D major Op.19 - III. Moderato
04. Prokofiev - Violin Concerto N in G minor Op.63 - I. Allegro moderato [Alceo Gailliera, Philharmonia Orch; 1958]
05. Prokofiev - Violin Concerto N in G minor Op.63 - II. Andante assai
06. Prokofiev - Violin Concerto N in G minor Op.63 - III. Allegro, ben moderatoto
07. Prokofiev - Violin Sonata N in D major Op.94 - I. Moderato [Vladimir Yampolsky, piano; 1955]
08. Prokofiev - Violin Sonata N in D major Op.94 - II. Presto
09. Prokofiev - Violin Sonata N in D major Op.94 - III. Andante
10. Prokofiev - Violin Sonata N in D major Op.94 - IV. Allegro con brio

Prokofiev - Violin Concerto N in D major Op.19
David Oistrakh Violin
Conductor Lovro von Matacic
Orchestra London Symphony Orchestra

Recorded 18 & 21 November 1954, Abbey Road, London

Prokofiev - Violin Concerto N in G minor Op.63
David Oistrakh Violin
Conductor Alceo Galliera
Orchestra Philharmonia Orchestra

Recorded 14 & 19 May 1958, Abbey Road, London

Prokofiev - Violin Sonata N in D major Op.94
David Oistrakh Violin
Vladimir Yampolsky piano

Recorded 22 May 1955, salle Colonaille, Brussels

 

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Gala Stradivarius Concert (Recorded Highlights)

Classical | Easy CD-DA, APE tracks, No CUE, No Log | 1 CD, Cover LQ | 336 MB
CD Date: 1 May 1994 | Russian Disc

Include: nz Schubert Rondo for violin & strings in A major, D. 438 Franz Joseph Haydn Cello Concerto No. 1 in C major, H. 7b/1 (Finale - Allegro molto) Antonio Vivaldi The Four Seasons (Il quattro stagione), concertos (4) for violin, strings & continuo ("Il cimento" Nos. 1-4) , Op. 8/1 - 4
Composer: Franz Joseph Haydn, Franz Schubert, Antonio Vivaldi

1 : F. Schubert : Adagio and Rondo in A major ( D438 ) par José-Luis Garcia
2 : J. Haydn : Cello Concerto in C major Finale - Allegro molto par Robert Cohen
3 : Vivaldi : The Four Seasons : SPRING par Manoug Parikian a ) Allegro
4 : b ) Largo E Pianissimo Sempre
5 : c ) Allegro
6 : SUMMER par Maurice Hasson a ) Allegro non molto
7 : b ) Adagio
8 : c ) Presto - Tempo Impetuoso D'Estate
9 : AUTUMN par José-Luis Garcia a ) Allegro
10 : b ) Adagio
11 : c ) Allegro - La Caccia
12 : WINTER par Daniel Philips a ) Allegro non molto
13 : b ) Largo
14 : c ) Allegro


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Agrell - 4 Concerti - Hazelzet et al

Baroque | Eac, flac, cue | no log, cover | 1 CD, 326 MB
April 22, 2003 | Cavalli | RapidShare


Agrell, Johan Joachim
(b Löth, Östergötland, 1 Feb 1701; d Nuremberg, 19 Jan 1765). Swedish composer,violinist and harpsichordist. His father was a priest. He went to school in Linköping and studied at Uppsala University from 1721 to 1722 or 1723, where he played in the university orchestra, then led by the director musices Eric Burman. Early biographers said that Prince Maximilian of Hesse heard Agrell's violin playing in 1723 and called him to Kassel. irm evidence of Agrell's activity there is, however, found only from 1734, when F. Chelleri was Kapellmeister. He was still working in Kassel between 1737 and 1742 during the reign of Count Wilhelm VIII and the court long owed him payment for service, as well as ale and food money, for the years 1743 to 1746. During his time at Kassel Agrell is reported to have made several journeys, visiting England, France, Italy and elsewhere. Uncertain economic circumstances seem to have driven Agrell to seek the post of Kapellmeister in Nuremberg, a post which he obtained in 1746 (succeeding M. Zeitler); he combined this with duties as director musices, leader of the town musicians and holder of the position of chief wedding and funeral inviter, which gave him the right to compose music for weddings and other festivities. One of his duties was to direct music in the town's main churches, in particular the Frauenkirche. Of his work in the Musikalische Kirchen-Andachten only the text survives. On 3 September 1749 Agrell married the daughter of an organist, the singer Margaretha Förtsch (d 1752). Practically none of Agrell's output from his youth in Sweden survives, though a polonaise from a collection entitled En notbok printed in 1746 (which may actually date from his early years) survived as a reel in the tradition of Swedish fiddlers throughout the 19th century. Another sign of contact with his homeland is the dedication to Adolf Fredrik of Holstein-Gottorp, successor to the Swedish throne, of his Sei sonate per il cembalo solo (1748), in which he referred to his dear homeland, Sweden, and remarked that fate had so far forced him to live abroad; in addition, Agrell's published works were sent to the Swedish royal chapel at the request of J.H. Roman and others. Agrell's works divide into two categories: the vocal music, occasional and commissioned, much appreciated in his day, but now lost; and his many instrumental works, most of which were published during Agrell's lifetime, sometimes on their own, sometimes in anthologies. Among the most important instrumental works are his symphonies, chiefly from the period 173550, and his numerous harpsichord concertos from the 1750s and 60s. The symphonies, like the work of his compatriot, Roman, constitute an interesting early experiment in this genre with the beginnings of thematic contrast. The instrumentation is often on a large scale, with brilliant parts for woodwind and brass. Agrell's reputation as one of the leading proponents of the emerging symphony led Antonio Vivaldi to ask him to contribute to a concert of modern music in Amsterdam in 1739. He was evidently influenced from many directions, at first by Chelleri and Roman, among others, later by the more up-to-date Italian composers of his time and by German music of the milieu in which he worked. He had a sound technique, and was fluent in the new forms of his time. His style has clear galant tendencies, but even if Agrell (as one might suppose) harboured aesthetic ideals like those of Mattheson, he was not really a gifted melodist, a fact which occasioned Schubart's oft-cited judgment (Ästhetik der Tonkunst, Vienna, 1806): A true artist, but a cold nature.--Grove

Tracks:
01 - Wilbert Hazelzet, Transv. Flute; Matthew Halls, Piano; Margaret Faultless & Alida Schat, Violins; Ka - Konzert A-Dur Für Flöte, Cembalo Obligato Und Streicher: I. Allegro (05:47)
02 - Wilbert Hazelzet, Transv. Flute; Matthew Halls, Piano; Margaret Faultless & Alida Schat, Violins; Ka - Konzert A-Dur Für Flöte, Cembalo Obligato Und Streicher: II. Andante (06:02)
03 - Wilbert Hazelzet, Transv. Flute; Matthew Halls, Piano; Margaret Faultless & Alida Schat, Violins; Ka - Konzert A-Dur Für Flöte, Cembalo Obligato Und Streicher: III. Allegro Assai (05:54)
04 - Wilbert Hazelzet, Transv. Flute; Matthew Halls, Piano; Margaret Faultless & Alida Schat, Violins; Ka - Konzert h-Moll Für Flöte, Cembalo Obligato Und Streicher: I. Allegro (05:39)
05 - Wilbert Hazelzet, Transv. Flute; Matthew Halls, Piano; Margaret Faultless & Alida Schat, Violins; Ka - Konzert h-Moll Für Flöte, Cembalo Obligato Und Streicher: II. Andante (06:11)
06 - Wilbert Hazelzet, Transv. Flute; Matthew Halls, Piano; Margaret Faultless & Alida Schat, Violins; Ka - Konzert h-Moll Für Flöte, Cembalo Obligato Und Streicher: III. Allegro (05:09)
07 - Wilbert Hazelzet, Transv. Flute; Matthew Halls, Piano; Margaret Faultless & Alida Schat, Violins; Ka - Konzert G-Dur Für Flöte, Hammerklavier Und Streicher: I. Allegro (06:59)
08 - Wilbert Hazelzet, Transv. Flute; Matthew Halls, Piano; Margaret Faultless & Alida Schat, Violins; Ka - Konzert G-Dur Für Flöte, Hammerklavier Und Streicher: II. Andantino (05:40)
09 - Wilbert Hazelzet, Transv. Flute; Matthew Halls, Piano; Margaret Faultless & Alida Schat, Violins; Ka - Konzert G-Dur Für Flöte, Hammerklavier Und Streicher: III. Allegro Assai (05:30)
10 - Wilbert Hazelzet, Transv. Flute; Matthew Halls, Piano; Margaret Faultless & Alida Schat, Violins; Ka - Konzert A-Dur Für Cembalo Und Streicher: I. Allegro (05:12)
11 - Wilbert Hazelzet, Transv. Flute; Matthew Halls, Piano; Margaret Faultless & Alida Schat, Violins; Ka - Konzert A-Dur Für Cembalo Und Streicher: II. Un Poco Andante (04:56)
12 - Wilbert Hazelzet, Transv. Flute; Matthew Halls, Piano; Margaret Faultless & Alida Schat, Violins; Ka - Konzert A-Dur Für Cembalo Und Streicher: III. Allegro Assai (03:39)


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Gustav Mahler: Symphony No. 4 Edith Mathis (sop); Berliner Philharmoniker; Herbert von Karajan

Classical | 1 CD | EAC Rip | 226 Mb | FLAC+LOG+M3U+Cue | Full scans | 2 RS links
Publisher: Deutsche Grammophon DG (E) 415 323-2GH

Unaccountably, I hadn't previously heard this Karajan performance of Mahler's Fourth even though it's been available on LP since 1979. Now it comes as the seventh CD version of this symphony, and it has bowled me over. Such playing (though if I'm to be hyper-critical I don't care for some of the solo-violin playing), such excellent recording balance and, above all, such conducting, Karajan at his most relaxed and winning, making all the humorous and fantastic points in the score with such affection. Such moments, too, as the coda of the slow movement leave one openmouthed at the sheer beauty of execution and interpretation. Edith Mathis enters perfectly into the spirit of the music and the performance. Yet any of the recordings I have listed above has comparable virtues: Kathleen Battle's singing of the finale with Maazek(CBS) is a delight which we are privileged to be able to recall at the turn of a switch and both 1--laitink (Philips) and Tennstedt (EMI) penetrate to the heart of this adorable work as unerringly as does Karajan. For a warm CD sound, I think the Karajan has it.
M. K. The Gramophone
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Shostakovich Edition - Brilliant Classics (27CD)

A: rar+8%, F: APE+cue, no log, S: ~7.6Gb, Cover: all covers incl.

:
 
"Symphonies no. 1, 2 & 3"
"Symphony no. 4"
"Symphonies no. 5 & 6"
"Symphony no. 7"
"Symphony no. 8"
"Symphonies no. 9 & 10"
"Symphony no. 11"
"Symphony no. 12"
"Symphony no. 13"
"Symphony no. 14"
"Symphony no. 15"
"Chamber Symphonies I"
"Chamber Symphonies II"
"Jazz Suites"
"Ballet Suites"
"Film Music"
"Piano Concertos"
"Violin Concertos"
"Cello Concertos"
"Chamber Music I"
"Chamber Music II"
"Chamber Music III"
"String Quartets N2, 8 & 13"
"String Quartets N3, 7 & 9"
"String Quartets N5, 11 & 12"
"String Quartets N4, 6 & 10"
"String Quartets N1, 14 & 15"

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A: rar+8%, F: APE+cue, no log, S: ~7.6Gb, Cover: all covers incl.
Passw.: flac
...

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