Idil Biret - Polonaises 2 - COMPACT DISCS [CD]

Album Tracks 1. Violin Concerto in E minor, Op. 64~Allegro molto appassionato 2. Violin Concerto in E minor, Op. 64~Andante 3. Violin Concerto in E minor, Op. 64~Allegretto non troppo - Allegro molto vivace 4. Violin Concerto No.1 in G minor, Op. 26~Prelude Allegro moderato 5. Violin Concerto No.1 in G minor, Op. 26~Adagio 6. Violin Concerto No.1 in G minor, Op. 26~Finale Allegro energico 7. Violin Concerto in D major, Op. 35~Allegro moderato 8. Violin Concerto in D major, Op. 35~Canzonetta Andante 9. Violin Concerto in D major, Op. 35~Finale Allegro vivacissimo

How Fair Thou Art - Giovanni Pierluigi da Palestrina (1525/6-1594) This selection from the Palestrina's settings of The Song of Songs is interspersed by four of the composer's Marian antiphons. Once you get used to the close recording and The King's Singers' distinctive 'barbershop' sound, these performances are highly enjoyable, benefiting from the singers' diffident and yet expressive approach. Just occasionally the very close recording shows the alto voices at a disadvantage, but the singing is generally of a very high quality and the readings of these beautiful pieces is intelligent and sensuous. I take a little bit of exception to the title with it's presumably intentionally punning use of the phrase 'Biblical Passions'-the Passion has a very specific religious meaning, and it's extension to embrace the erotic underpinning of The Song of Songs makes something of a nonsense of this. It is not entirely clear what context Palestrina's Song of Songs settings were intended for, but if-as seems likely-they were for private domestic consumption, then I am sure that the earliest performances would have sounded very much like the present recording. It is interesting to hear the Marian antiphons in the same context-almost certainly written for liturgical choral presentation, they work equally well sung by reduced forces and in a smaller acoustic. Indeed without listening closely to the texts, it would be difficult to differentiate the two repertoires from one another. Early Music Review Album Tracks 1. Alma Redemptoris Matergiovanni Pierluigi Da Palestrina 2 54 2. Quam Pulchri Sunt Gressus Tuigiovanni Pierluigi Da Palestrina 2 48 3. Pulchrae Sunt Genae Tuaegiovanni Pierluigi Da Palestrina 3 27 4. Tota Pulchra Es Anima Meagiovanni Pierluigi Da Palestrina 2 38 5. Nigra Sum, Sed Formosagiovanni Pierluigi Da Palestrina 3 17 6. Regina Caeligiovanni Pierluigi Da

The Polonaise in C-sharp minor, Op. 26 No. 1 and the Polonaise in E-flat minor, Op. 26 No. 2 were composed by Frédéric Chopin in 1836. Both of them were dedicated to Josef Dessauer. Both Polonaises require considerable technique and stamina to be performed well. The Polonaise opens with a fiery Allegro appasionato in C-sharp minor, the primary theme preceded by descending octaves. The section climaxes with a series of virtuosic arpeggio figures which give way to a tender melody. This is then followed by a repetition of the theme. After this opening section there is a new theme introduced in the enharmonic D-flat major. This new theme is then developed and followed by a new left hand melody, which increases the tension until a repeat of the meno mosso. This polonaise is very diverse in textures, dynamics, and moods, and sometimes is considered one of the best polonaises by Chopin. Album Tracks 1. Polonaise in C#, Op.26, No.1 2. Polonaise in E Flat, Op.26, No.2 3. Polonaise in a, Op.40, No.1, 'Military' 4. Polonaise in C, Op.40, No.2 5. Polonaise in F#, Op.44 6. Polonaise in a Flat, Op.53, 'Heroic' 7. Polonaise in a Flat, Op.61, 'Polonaise-Fant'