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2020-09-10 16:28:00
PhilharmonieBach-Webern: Musical Offering, BWV 1079: ‘Ricercar A Sei Voci’ Berg: Three Fragments from ‘Wozzeck’ Webern: Variations for Orchestra, op.30 Schnittke: Concerto grosso no.1, for two violins, harpsichord, prepared piano, and chamber orchestra Anne Schwanewilms (soprano)Erez Ofer, Nadine Contini (violins) Helen Collyer (piano and harpsichord) Children’s Choir of the Staatsoper Unter den Linden (director: Ralf Sochaczewsky) Berlin Radio Symphony Orchestra Vladimir Jurowski (conductor) Only connect. Vladimir Jurowski has a longstanding talent for programming that does so—and ensures active participation from the listener in doing so too. Some connections in this programme were obvious, some less so, only revealed in performance and listening (at least for me). Whatever small reservations I may have had about some of Jurowski’s interpretative choices, they were outweighed by the illumination of his programming as a whole. First up was Webern’s extraordinary orchestration, if we may call it that, of the six-part Ricercar from Bach’s […]
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Faces of classical music
2019-11-24 09:11:00
The best new classical albums: November 2019
[…] Mozart felt no need to notate in his transcription of 1770. In fact there are now several excellent recordings – which I dub "nu-wave Allegri" – employing Baroque-and-beyond ornamentation (not to mention moveable high Cs) as they attempt to recapture the infamous papal chapel practices documented by many a Grand Tour diarist. This latter category already boasts an incredible exploration of 19th-century practice by Ensemble William Byrd (Naïve/Ambronay, 2001) and some delicious Baroque ornamentation from A Sei Voci (Naïve, 9/95). Now Vincent Dumestre joins the fray with his vivid and compelling examination of permeability in the Baroque's sacred-secular membrane. Viewing ornamentation as a corruption of Allegri's simple homophonic textures (akin to architectural trompe l'œil) leads him and his performers down some fanciful and spectacular routes.The singing is text-focused from the outset, plainsong is demonstratively declaimed and homophonic passages work up a furtive urgency until they spawn flurries of ornamentation clustered […]
2018-08-31 23:00:00
Carissimi & Contemporaries
With a slight move forward in time from my previous post we find in Rome Carissimi and Michelangelo Rossi. Cazzati and Legrenzi are moving around in the Northeast. In Venice instrumental music is cultivated by Biagio Marini and Dario Castello, and Barbara Strozzi sings the arias composed by herself.Giacomo Carissimi (1605-1674)"Oratoria"Vanitas vanitatum, Ezechia, JephteMarie-Noëlle de Callatay, Maite Arruabarrena, Cristel de Meulder Jan Caals, Marius van Altena, Philippe CantorVocal and instrumental ensemble CurrendeErik Van NevelAccent ACC 9059 D (1990)[flac, cue, log, scans]Giacomo Carissimi"Histoires Sacrées"Judicium Salomonis, Job, Cain, Jephte, Oratorio della Santissima VergineMonique Zanetti, Raphaële Kennedy, Patricia Gonzalez, Jean-François Lombard, Jean-François Novelli, Reanud DelaigueLes PaladinsJérôme CorreasPan Classics 10182 (2005)[flac, cue, log, scans]Giacomo CarissimiMissa "L'homme armé"Motets "Exurge, cor meum, in cythara", "O vulnera doloris"Judicium extremum, oratorioI Madrigalisti Ambrosiani (soloists: Makoto Sakurada, Salvo Vitale)Gianluca CapuanoAmadeus AM 163-2 (2003)[flac, cue, log, scans]Maurizio Cazzati (1616-1678)Messa e Salmi per li defontisoloists: A Sei Vociinstruments: A Sei Voci, Ensemble Christophe […]
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