Solche Bearbeitungen ungenannter Bearbeiter zum eigenen Gebrauch sind schon für Johann Sebastian Bach die selbstverständlichste Sache der Welt gewesen. Bei den Bearbeitungen von fremder Hand muß man halt darauf achten, daß diese Arrangements mit gutem Geschmack gemacht wurden, meint Mischa Maisky, und dafür legt er bei dieser Auswahl: Mischa Maisky, Pavel Gililov MEDITATION  – die Hand ins Feuer.

Rostropovich of the Future

Born in 1948 in Riga, Latvia, Mischa Maisky received his first music lessons there at the Children’s Music School and Conservatory. In 1962 he entered the Leningrad Conservatory. In 1965 his debut with the Leningrad Philharmonic earned him the nickname “Rostropovich of the Future”. One year later he was a prizewinner at the International Tchaikovsky Competition in Moscow and began his studies with Rostropovich at the Moscow Conservatory while pursuing a concert career throughout the former Soviet Union. After being imprisoned in a labour camp near Gorky for 18 months in 1970, he emigrated from the USSR.

Maisky and extraordinary musicians

„In great demand as a chamber player, Maisky has performed with a number of extraordinary musicians, including Vladimir Ashkenazy, Gidon Kremer, Peter Serkin, and Martha Argerich. Acclaimed for his renditions of concertos by Haydn and Schumann, Maisky is the only cellist to have received a Deutsche Grammophon offer to record Bach’s complete works for the cello. The year 2000 was dedicated to Bach by Maisky, when he performed all of Bach’s cello works in three recitals in a single day, and presented 100 Bach performances around the world.“ – All Music Guide

• 6. Frederic Chopin: Prelude
• 7. Franz Schubert: Ave Maria
• 8. Robert Schumann: Traumerei
• 9. Johannes Brahms: Wiegenlied
• 10. Manuel de Falla: Nana
• 11. Gabriel Faure: Apres un reve
• 12. Jules Massenet: Elegie
• 13. Camille Saint-Saens: Le Cygne
• 14. Maurice Ravel: Habanera
• 15. Anonym: Katalanisches Volkslied (Gesang der Vögel)
• 16. Peter Tschaikowsky: Nocturne
• 17. Sergei Rachmaninow: Vocalise
• 18. Fritz Kreisler: Liebesleid

Sein Meister.

BOCCHERINI VIVALDI TARTINI Cello Concertos Mstislav Rostropovich

Artykuł Mischa Maisky, Pavel Gililov MEDITATION pochodzi z serwisu Rogers HiFi.

HANDEL PURCELL RAMEAU Noveau monde Patricia Petibon

Die Eroberung der Neuen Welt, das ist ein Thema, über das sich noch vieles sagen und schreiben lässt, und das Stoff für viele Projekte bietet. Patricia Petibon gehört zu jenen außergewöhnlichen Künstlern, die uns immer wieder neue Seiten im Bilderbuch der Vergangenheit aufblättern und uns die Zeitlosigkeit der Geschichte spüren lassen – ein Gütesiegel großer Künstler.

Patricia Petibon, Sopran

Andrea Marcon, Leitung La Cetra Barockorchester und Vokalensemble Basel

© Felix Broede / DG

»rothaarigen Schönheit«

Das neue Album der »rothaarigen Schönheit« (FAZ) ist eine musikalische Reise von der alten in die neue Welt: Musik aus der Zeit der großen Entdecker. Petibon zeichnet auf ihrem Konzeptalbum ein faszinierendes Klangportrait dieser Ära durch eine spannende sowie überraschende Zusammenstellung mit Arien von Rameau, Charpentier, Händel und Purcell, die die Faszination der Komponisten über die neu entdeckten Landschaften ausdrücken, sowie farbenreichen südamerikanischen Volksliedern..

exotic Baroque journey

Adventurous French soprano invites us on an exotic Baroque journey. It’s not often that an aria disc has you dancing, but this adventurous album from Patricia Petibon might just do the trick. The French soprano has combined two of her musical passions – Spanish music and the Baroque – into one program, in which 17th- and 18th-century arias and folksongs from England, France, Spain and Latin America mingle with gay abandon. Dance rhythms and catchy tunes abound, from the seguidilla of José de Nebra’s En amor, pastorcillos, to the chaconne of Charpentier’s Sans frayeur dans ces bois to the zippy French folksong J’ai vu le loup, which comes complete with bagpipes and historically informed pronunciation.

Fascination

There’s typical Baroque fare too, chosen to reflect the Old World’s fascination with the New: arias from Purcell’s Dido and Aeneas, Charpentier’s Médée and Rameau’s i, all of them set in farflung lands.It’s a diverse program, whose varied strands intertwine in fascinating ways. Dido’s Lament, for instance, is an intriguing companion to Le Bailly’s Yo soy la locura, and it’s interesting to hear Handel’s Spanish aria No se emenderá jámas amid its native counterparts. Petibon brings her own lively artistry to the mix, moving easily between Old World and New. She has the depth of tone for Dido and Médee, the playful sparkle for Rameau’s Zima, and the flexibility for Handel; and she enters just as idiomatically into the less formal world of the folksongs.Like most of Petibon’s albums, this one contains its share of vocal effects and quirky touches.

distinctive vocal personality

This eccentricity has always been part of Petibon’s distinctive vocal personality, though, and is mostly well employed here, particularly in the colourful textures of the Spanish and Latin American selections. Indeed, it is these selections which set this album apart, their exotic sounds and infectious rhythms endowing them with an immediate, often toe-tapping appeal which Petibon’s bright soprano can’t help but enhance. She shares these laurels equally, however, with the musicians of Marcon’s La Cetra (and assorted soloists), whose playing explodes with authentic colours and threatens at every moment to steal the show.

Pressestimme – HANDEL PURCELL RAMEAU Noveau monde Patricia Petibon

Christmas 2012

****

“Conquest is one theme, confession another; the whole a breakneck A-Z of Baroque song from airs de cours to zarzuela.”

January 2013

“’Nouveau Monde‘ is a tightly thought-through and arranged and compelling programme, a tour de force for its performer/compiler, most atmospherically recorded. Compulsive, repeatable listening.”

Inhalt: HANDEL PURCELL RAMEAU Noveau monde Patricia Petibon

anon.:

Cachua a voz y bajo Al Nacimiento de Christo Nuestro Señor (from Codex Martinez Compañon)
Tonada la Lata a voz y bajo, para bailar cantando (from Codex Martinez Compañon)
Mon amy s’en est allé
Tonada la Lata el Congo a voz y bajo para baylar cantando (from Codex Martinez Compañon)
Greensleeves to a ground

Bailly:

Yo soy la locura

Charpentier, M-A:
Quel prix de mon amour (from Medée)
Prélude…Noires filles du Styx (from Medée)
Dieu du Cocyte et des Royaumes sombres (from Medée)

Handel:
No se emendará jamás, HWV 140

Nebra Blasco:
El bajel que no recela (from Vendado es amor, no es ciego)
En amor, pastorcillos, no hay quien distinga (from Vendado es amor, no es ciego)

Purcell:
When I am laid in earth (from Dido and Aeneas)
Fairest Isle (from King Arthur)

Rameau:
Rondeau – Forêts paisibles (from Les Indes Galantes)
Les Indes galantes: Tempête : La nuit couvre les cieux !

trad.:
J’ai vu le loup, le renard et la belette

Audiophile Pressungen + Audiophile Plattenspieler = Audiophile Schönheit

Clearaudio Plattenspieler EMOTION SE

Artykuł HANDEL PURCELL RAMEAU <br />Noveau monde <br />Patricia Petibon pochodzi z serwisu Rogers HiFi.