What music are you listening to? | 2

[Typhoon]

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[Apollonius]

Another promising young countertenor:



Cadrà fra poco in cenere (from Didone abbandonata) - Johann Adolph Hasse (1699--1783).; Valer Barna-Sabadus, countertenor ; Hofkapelle München directed by Michael Hofstetter
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Bei labbri, che amore (from La Gelosia) - Johann Adolph Hasse (1699--1783).; Valer Barna-Sabadus, countertenor ; Hofkapelle München directed by Michael Hofstetter
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[Apollonius]

Sonata in A minor, K. 175 - Domenico Scarlatti (1685-1757) ; Pierre Hantaï, harpsichord
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Sonata in F minor, K. 466 - Domenico Scarlatti (1685-1757) ; Pierre Hantaï, harpsichord
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[Apollonius]

Sonata in D minor, K. 141 - Domenico Scarlatti (1685-1757) ; Jean Rondeau, harpsichord
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[Apollonius]

The first complete recording of Scarlatti's harpsichord sonatas wasn't produced until 1984-1985 when Scott Ross played them all:


Sonata in B minor, K. 27 - Domenico Scarlatti (1685-1757) ; Scott Ross, harpsichord
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The harpsichord is a modern copy of a Blanchet, built by David Ley. The original harpsichord was built in 1733, and is conserved in the castle of Thoiry.

Sonatas, K. 49 - K. 66 - Domenico Scarlatti (1685-1757) ; Scott Ross, harpsichord
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Sonatas, K. 540 - K. 555 - Domenico Scarlatti (1685-1757) ; Scott Ross, harpsichord
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The keyboard sonatas - Domenico Scarlatti (1685-1757) ; Scott Ross, harpsichord
http://www.amazon.com/Scarlatti-Keyboar ... B0009MWAVQ


A reviewer:

Even to "review" Scott Ross's 34 CD set from Warner (now in danger of being out of print)seems presumptuous. This feat, so stunning in every way, makes a mere Michael Phelps just another Guiness Book of Records item. What do a few more seconds of invisible swimming achievement have to offer me? Nothing.

I know well and own recordings of these amazing harpsichord sonatas by Landowska, Kirkpatrick, Valenti, Pinnock, Kipnis, Belder and others. All have their virtues. But Ross's mastering of these 500 plus sonatas in a year or so, to produce non-mechanical, far from routine run-throughs, is sui generis. Ross seems influenced by Valenti, particularly, but retains an expressiveness and vitality that even Valenti began to lose as his old Westminster LPs were being spewed out.

Even to "recommend" this set seems a bit ridiculous, like "recommending" the Grand Canyon.


-- Harold Fromm

[Typhoon]

65688976

[Typhoon]

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[Parodite]

17yLLsE9W_o

[Typhoon]

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Her voice has a beautiful clarity.

[Azrael]

ScSHEnFNRck

Duffy | Warwick Avenue

[Heracleum Persicum]

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[Typhoon]

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[Apollonius]

Posted these elsewhere a while back. I never get tired of them, so they might as well go here too:


Rigaudon I & II - Jean Philippe Rameau (1683-1767) ; Scott Ross, harpsichord
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Les sauvages - Jean Philippe Rameau (1683-1767) ; Céline Frisch, harpsichord
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La poule - Jean Philippe Rameau (1683-1767) ; Hank Knox, harpsichord
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L'enharmonique - Jean Philippe Rameau (1683-1767) ; Scott Ross, harpsichord
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From the comments:

I met Scott Ross once in Montreal, when I was in my twenties. A friend of mine who was an harpsichordist had invited him to his party. People were drinking and smoking marijuana. Suddenly I saw Scott dressed like an hippie, at the harpsichord. I thought: " Oh my God, it is going to be an awful moment ". Scott played a Bach's fugue (4 voices) with perfection even if he was stoned!!! I was astounded! Later my friend told me that Scott was one of the best of his music school.

[Apollonius]

When Rameau was in his fifties his attention turned to opera.

A brilliant modern interpretation of one of his masterpieces:


Les Paladins - Jean-Philippe Rameau (1683-1764) ; Topi Lehtipuu, Stéphanie d'Oustrac, Laurent Naouri, Sandrine Piau, René Schirrer, François Piolino ; Les Arts Florissants directed by William Christie
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A reviewer at amazon.com writes:

Baroque that rocks! is the title of a documentary film by Reiner E. Moritz that accompanies this Opus Arte DVD production of Jean-Philippe Rameau's (1683-1764) penultimate masterwork Les Paladins, inspired by a fable by La Fontaine. Described as a Comedie lyrique in three acts and composed in 1760 when Rameau was 77, it blended reality and the surreal even before director Jose Montalvo and choreographers Montalvo and Dominique Hervieu began their efforts to bring this Baroque masterpiece before a 21st Century audience. Watching this ingenious blend of 18th Century French Opera and ultramodern technology, dancing, multi-screen films and imaginative staging is like wandering through a wormhole in spacetime. All times between are bypassed and only those slivers of spacetime that correspond to 1760 and the present - the entrance and exit points through this artistic portal - are allowed to coexist. And coexist they do; modern dance, film and a plethora of strange activity reflect or comment upon what occurs on stage. One inhabits two worlds simultaneously and it takes some getting used to. Dancers utilize old school breakdancing, hip-hop, West Indian, African and urban street moves, all superbly choreographed by Ms. Hervieu. Multiple screens doubling as multiple stage doors present a profusion of films frequently incorporating stage performers so that they interact with their virtual selves and others; they are constantly morphing into animals, birds, butterflies and statuary of various shapes and sizes. Balloons float across the stage as props, a trampoline is utilized as an apt metaphor for love's flight. Castles and gardens appear and disappear as needed via film and image projections. And all this time, like a heart that refuses to falter, a magnificent Opera persists onstage and in the pit, sublimely played and gorgeously sung.

Opera done in modern costume is commonplace these days. All too frequently, it doesn't really work. This production is an exception.


This is a true 'opera-ballet'. The dancing is almost as important as the vocal parts. As noted by our reviewer, each soloist is accompanied by someone who dances the part that he/she sings. The singing, however, is truly sublime, and stands on its own. The singers are very very hot. If you like leg, you got it. The music and musicianship is utterly spectacular.


"Must be one of the wildest and most exuberant performances of classical music ever seen," writes the Telegraph.



There is a message to this truly fabulous 18th century jewel, contained in one of its central arias: Love makes miracles.



WARNING! Contains nudity, suggestive scenes and language.

[Hoosiernorm]

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[Azrael]

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I jah Man Levi - Jah is no secret

[Typhoon]

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[Heracleum Persicum]

.


Very Nice



Andre Rieu - I Will Follow Him


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[Typhoon]

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[Parodite]

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[Hoosiernorm]

http://video.bobdylan.com/desktop.html

You can change channels on the left. Each one is sync'd to the song. It is the most amazing piece of work I have seen in awhile.

[Hans Bulvai]

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[Hans Bulvai]

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[Heracleum Persicum]

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[Typhoon]

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