Otra muy buena (en su línea) es ésta:



Por cierto, ¿qué hay de ésta?:

http://www.arkivmusic.com/classical/Drilldown?name_id1=8429&name_role1=1&comp_id=1996&genre=154&bcorder=195&name_id=90455&name_role=4

Estoy casi seguro de que hay grabada en Sony Vivarte, pero el caso es que no la tengo.

En cuanto a la de Vera Beths, tiene buena pinta pero no obra en mi poder

Pues cuando tenga un poco de tiempo subiré la de los Chase con The Hanover Band, a ver qué les parece.

A partir de magnana el Mozarteum pone a disposición toda la obra de Mozart en partituras gratis para el que se las quiera bajar.

Bajo esta horrible portada



Don Giovanni
Mechelen, Claessens, M. Schäfer, Argenta, Kamp,
Le Petite Bande, Kuijken

Hay buena materia???? o que versión con criterios historicistas me podrían recomendar????

Tengo esta otra



Saludos,

La de Jacobs en Harmonia Mundi. No hay por donde perderse

Don Renato tiene un Giovanni publicado??????

O es vía radio o concierto pirata????

Saludos,

Lo lamento, me confundí esas son las bodas. Para Don Giovanni la que me parece mejor versión es la de Norrington en EMI que ya está descontinuada y que fue reeditada en Virgin junto con la Flauta.

A very special Giovanni this. In the first place we have, at last, the full performance of both the Prague and Vienna versions recorded, as it were alongside each other with all the attendant recitative. Then, as ever, Norrington has taken a searching and novel approach to the score. In his own explanatory notes, he gives his views on the music, choice of singers (predominantly light ones) to interpret it, speeds, and the advantages of his distribution of the orchestra (an illustration shows us the placings in EMI's Abbey Road Studio No. 1). All these factors are even more revolutionary than in the Arnold Ostman version and won't, of course, please traditionalists. However, on this occasion—as opposed to his EMI Die Zauberflote (11/91)—the results entirely justify Norrington's decisions on practically all counts. Everything that he describes in his writing seems to make sense in performance and in consequence we hear a dynamic, forward-moving, entirely convincing interpretation that holds the attention, indeed enlivens the spirit.
Because Norrington has hand-picked his singers and players to suit his point of view, they obviously believe in what he and they are doing and execute the score accordingly, whereas others might find so fleet and disciplined an approach hard to manage. There is a sense of dedication and conviction on all sides. On this occasion it would be idle to dwell too much on a detailed description of the performance for the whole is more important than the parts. You may find the so-called Champagne aria a shade on the deliberate side, the Trio of masks, the Serenade and Elvira's aria a little hurried, but as elements of a such a well-integrated whole such quibbles seem out of place. I was held from start to finish—at least in the Prague version: the Vienna is flawed by inferior music for Zerlina and Leporello, usually and rightly omitted. Norrington's instrumental placings certainly allow the wind due prominence.

The reading is enhanced by the swift treatment of recitative, the strict approach of the fortepiano support during its delivery, the excellent Italian on all sides, the generous inclusion of appoggiaturas, the delicacy of the decoration of reprises in arias and the sensible simulation of stage effects by David Murray the discerning producer. A drawback to EMI's layout is that unless you have index facilities it is hard to programme the fairly satisfying conflation of both versions we usually hear in the theatre.

For once, it is a pleasure to report, in a Mozart opera on disc, many strengths and virtually no weaknesses. Best of all is the partnership between Giovanni and Leporello, their voices surely differentiated and each a pleasure to hear in itself. Schmidt is a vivid, mellifluous, technically sure Giovanni, with the ideal baritone voice for the role—not too light nor too bass-oriented. This Giovanni is demonic enough in his obsession yet manages to suggest the facade of charm. The Serenade is truly seductive, long-breathed and suave (with a deft mandolin in support). Yurisich, who has given us so many sterling performances at Covent Garden and a good Leporello at Glyndebourne, sings that part with a grainy, characterful bass-baritone nicely offsetting Schimdt's smoother delivery. Both are assured and witty in recitative.

Lynne Dawson is an accomplished Elvira smooth, warm and pointed in both aria and recitative, not attempting too much 'modern' psychology in her reading but just hectic enough to reveal Elvira's deep feelings, especially in the recitative leading up to ''Mi tradi'' in the Vienna version. The Anna, Amanda Halgrimson, is a notable discovery. She has the range, strength and flexibility for this difficult role; her attack is vigorous in ''or sai chi l'honore'', her coloratura accurate and well-pitched in ''Non mi dir''. Nothing here of the prima-donna antics we sometimes here in the part but enough passion to suggest not too distantly hidden sexuality. Nancy Argenta's plangent, keen soprano complements the two Donne and admirably fulfills the contrast mentioned by Norrington in his notes.

John Mark Ainsley turns in a well-groomed compact Don Ottavio, a suitable partner for his Anna. He sings a particularly accomplished ''Il mio tesoro'' in the Prague version, taking the long run in a single breath and even embellishing the already taxing line at the reprise (this is an aria that notably benefits from Norrington's speed, a fast andante). He also sings exquisitely in tandem with his Anna in their duet in the Act 2 finale (also Prague version). Gerald Finley's firmly etched Masetto and Alastair Miles's sonorous, steady Commendatore complete the even octet of soloists.

Ostman's team is just as inviting. His singers may just surpass Norrington's in terms of character: for instance, Gilles Cachemaille is more smiling than Yurisich as Leporello though not so well contrasted with Hakan Hagegard's Giovanni as Yurisich is with Schmidt, Della Jones is more impassioned than Dawson, and you may find there an even greater sense of the drama. You may also find Ostman allows more of the humour in the piece to come through, whereas Norrington concentrates on the drama, but Ostman can be quirky, even unstable in his approach. He opts for the Prague version as his definitive text, preferring to take the additions into an appendix, so you would have to programme them in.

Both sets are exemplary in terms of sound and I would be hard put to it before longer acquaintance with the Norrington to declare a preference. None the less, even at this stage I would already choose either to most conventional readings, perhaps Busch (from 1936) and Giulini (from 1959) excepted: with Norrington and Ostman we are much nearer to Mozart's view of his work than we are with the romanticized manner previously so current.'

Alan Blyth

Gracias Zelenka y doyagüe, me pongo con ello.

Saludos,

Ya me lo he bajado,

Gracias,

Volviendo al tema de las Concertantes para violín y viola, me encontré con ésta que ha sido toda una revelación y una sorpresa:

Monica Huggett / Pavlo Beznosiuk / Portland Baroque Orchestra
Sinfonia concertante, Concertone para dos violines y Rondo para violín
Virgin Veritas

Entonces, existen tres grabaciones HIP: Huggett (de la que, al parecer, no teníamos noticia), Chase (que Ockeghem nos debe ) y Kussmaul.

Saludos a todos .

Y otra más:

http://www.arkivmusic.com/classical/Drilldown?name_id1=8429&name_role1=1&comp_id=1997&genre=154&bcorder=195&name_id=126312&name_role=4

¿Alguien la conoce?

Sencillamente perfectos, bellísimos y finos son los cuartetos para flauta y el cuarteto para oboe de Mozart. La lectura de Les Adieux es (también sencillamente) inteligentísima, maravillosamente fraseada, detalladamente sutil, vital, elocuente, clara, sorpresiva y perfecta a la vez.



Nunca había escuchado un Mozart de cámara tan bueno como éste . La música es una delicia y la interpretación una joya. Aquí dejo una muestra para los infortunados que desconozcan el disco:

yousendit.com yousendit.com/080EE2107650E832

Ese disco de Chandos está muy rarito. Ahí dice que interpreta el English Concert, pero si así fuera el disco estaría en la serie Chaconne y está en la serie normal y que yo sepa Ginson no es historicista