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🎻 Enjoy the music. Feel free to, follow, like & comment, this is immensely appreciated 🎻 Composition Year: 1723 in Leipzig First Performance: 1723-07-11 in Leipzig Dedication: 7th Sunday after Trinity (BWV 186) Recorded: Gedächtniskirche Stuttgart, September 1976/Januar/April 1977 Performers: Arleen Augér – soprano • Helen Watts – alto • Kurt Equiluz – tenore • Philippe Huttenlocher - basso • Hansjörg Schellenberger, Günther Passin, Hedda Rothweiler – Oboe • Dietmar Keller - Oboe da Caccia • Günther Pfitzenmaier – Fagotto • Jürgen Wolf – Violoncello • Manfred Gräser – Contrabbasso • Montserrat Torrent – Organo • Martha Schuster – Cembalo Gächinger Kantorei • Bach-Collegium Stuttgart • Helmuth Rilling - Conductor ~ I. Before the Sermon 00:01 1. Chorus: Ärgre dich, o Seele, nicht 03:45 2. Recitative (bass): Die Knechtsgestalt, die Not, der Mangel 05:56 3. Aria (bass): Bist du, der mir helfen soll 09:02 4. Recitative (tenor): Ach, daß ein Christ so sehr 11:20 5. Aria (tenor): Mein Heiland läßt sich merken 14:27 6. Chorale: Ob sichs anließ, als wollt er nicht ~ II. After the Sermon 17:21 7. Recitative (tenor): Es ist die Welt die große Wüstenei 19:33 8. Aria (soprano): Die Armen will der Herr umarmen 23:43 9. Recitative (alto): Nun mag die Welt mit ihrer Lust vergehen 25:25 10. Aria (soprano, alto): Laß, Seele, kein Leiden 30:55 11. Chorale: Die Hoffnung wart' der rechten Zeit ~ Work: ~ Ärgre dich, o Seele, nicht (Do not be confounded, o soul), BWV 186 is a church cantata by Johann Sebastian Bach. He composed it originally in Weimar in 1716 for Advent, BWV 186a, and expanded it in Leipzig in 1723 for the seventh Sunday after Trinity, where he first performed it on 11 July 1723. ~ Wikipedia's info on work: http://bit.ly/3QVRp0B Wikipedia: Extended biography: https://bit.ly/3vVsTDa Bach Cantatas website: https://www.bach-cantatas.com/ ~ *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ATTRIBUTION Music contained in this video is licensed to, Hänssler-Verlag, Germany

🎻 Enjoy the music. Feel free to, Follow, like & comment, this is immensely appreciated 🎻 ~ Composition Year: 1862–76 First Performance: 1876-11-4 Karlsruhe, Museum: Orchestra, Felix Otto Dessoff (conductor) Performers: University of Chicago Orchestra • Barbara Schubert Recorded: Performed 3 June 2006, Mandel Hall - Live performance ~ 1. Un poco sostenuto — Allegro 2. Andante sostenuto 3. Un poco allegretto e grazioso 4. Adagio — Allegro non troppo, ma con brio ~ Work: The Symphony No. 1 in C minor, Op. 68, is a symphony written by Johannes Brahms. Brahms spent at least fourteen years completing this work, whose sketches date from 1854. Brahms himself declared that the symphony, from sketches to finishing touches, took 21 years, from 1855 to 1876. The premiere of this symphony, conducted by the composer's friend Felix Otto Dessoff, occurred on 4 November 1876, in Karlsruhe, then in the Grand Duchy of Baden. A typical performance lasts between 45 and 50 minutes. The manuscript to the first movement apparently did not survive, yet the remainder has been reproduced in miniature facsimile by Dover Publications. The autograph manuscript of the second, third, and fourth movements is held by the Morgan Library & Museum in New York City. ~ *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ~ ATTRIBUTION Music contained in this video is licensed under: Creative Commons Attribution Non-commercial No Derivatives 3.0

🎻 Enjoy the music. Please Follow, like & comment, this is immensely appreciated 🎻 ‎Composition Year: 1724 in Leipzig First Performance: 1724-09-03 in Leipzig Dedication: 13th Sunday after Trinity Performers: Julia Hamari - Alto • Peter Schreier - Tenor • Dietrich Fischer-Dieskau • Münchener Bach-Chor • Münchener Bach-Orchester • Karl Richter, Dirigent. Recorded: München Herkulessaal, 3&10/1976;6/1977 Recording quality: High ~ 1. Chorus: Allein zu dir, Herr Jesu Christ (A minor) 2. Recitativo (bass): Mein Gott und Richter (E minor-G major) 3. Aria (alto): Wie furchstam wankten meine Schritte (C major) 4. Recitativo (tenor): Mein Gott, verwirf mich nicht (A minor) 5. Duet Aria (tenor, bass): Gott, der du die Liebe heißt (E minor) 6. Chorale: Ehr sei Gott in dem höchsten Thron (A minor) ‎~ Work: Johann Sebastian Bach composed the church cantata Allein zu dir, Herr Jesu Christ (Only upon You, Lord Jesus Christ), BWV 33, in Leipzig in 1724 for the thirteenth Sunday after Trinity and first performed it on 3 September 1724. The chorale cantata is based on the hymn "Allein zu dir, Herr Jesu Christ" by Konrad Hubert (1540). ‎~ History and words: Bach composed the cantata in his second year in Leipzig for the 13th Sunday after Trinity. That year, Bach composed a cycle of chorale cantatas, begun on the first Sunday after Trinity of 1724. The prescribed readings for the Sunday were from the Epistle to the Galatians, Paul's teaching on law and promise (Galatians 3:15–22), and from the Gospel of Luke, the parable of the Good Samaritan (Luke 10:23–37). ‎~ The cantata is based on the hymn by Konrad Hubert, which was published in Nürnberg in 1540 with an added fourth stanza. Each of the stanzas consists of nine lines.[5] For the cantata text, an unknown poet kept the words of stanzas 1 and 4 unchanged for movements 1 and 6. He transcribed the ideas of the inner stanzas, each to a sequence of recitative and aria. Due to the splitting of each stanza in two movements, the paraphrasing is a more independent of the original than for the previous cantatas of the cycle, last Herr Jesu Christ, du höchstes Gut, BWV 113. The hymn, concentrating on the sinner asking Jesus for redemption, is only generally connected to the Gospel. The poet connects to the Gospel in movement 4, "Gib mir nur aus Barmherzigkeit / den wahren Christenglauben" (Of your mercy grant me / the true Christian faith), addressing God as the true "Good Samaritan", also in movement 5, "Gib, daß ich aus reinem Triebe / als mich selbst den Nächsten liebe" (Grant that my purest impulse may be / to love my neighbour as myself"), citing the central line of the parable. The poet also refers to other Bible passages, in movement 2 to Job 9:3, "If he will contend with him, he cannot answer him one of a thousand.", and in movement 4 to both Psalms 51:13, "Then will I teach transgressors thy ways; and sinners shall be converted unto thee." and Galatians 5:6, "Then will I teach transgressors thy ways; and sinners shall be converted unto thee." ‎~ The chorale melody "Allein zu dir, Herr Jesu Christ" of unknown authorship was documented in a 1541 Wittenberg publication. It was used extensively, for example by Sethus Calvisius and Michael Praetorius. According to Klaus Hofmann, it was composed in 1512 for a secular song by Paul Hofhaimer. In the cantata, Bach uses the melody completely in a chorale fantasia in movement 1 and in the closing chorale, while he alludes to it in movement 5, a duet. ‎~ Bach first performed the cantata on 3 September 1724. ‎~ Extended info on this work: https://bit.ly/33Qi6zE Extended biography: https://bit.ly/3yfbm90 ‎~ ATTRIBUTION: The music is licensed and attributable to, Archiv Produktion

🎻 Enjoy the music. Please Follow, like & comment, this is immensely appreciated 🎻 Composition Year: 1713-23 First Performance: 1713-10-08 in Weimar (funeral of Amelia Maria Harreß) Dedication: 3rd Sunday after Trinity Performers: Edith Mathis - Sopran • Ernst Haefliger - Alto • Dietrich Fischer-Dieskau - Basso. • Münchener Bach-Chor • Münchener Bach-Orchester • Karl Richter, Dirigent. Recorded: Munchen, Herkulessaal, 7/1969 Recording quality: High 1. Sinfonia 2. Chorus: Ich hatte viel Bekümmernis in meinem Herzen 3. Aria (Soprano): Seufzer, Tränen, Kummer, Not 4. Recitativo (Tenor): Wie hast du dich, mein Gott 5. Aria (Tenor): Bäche von gesalznen Zähren 6. Chorus: Was betrübst du dich, meine Seele 7. Recitativo (Soprano, Bass): Ach Jesu, meine Ruh 8. Aria (Duet, Soprano, Bass): Komm, mein Jesu, und erquicke; Ja, ich komme und erquicke 9. Chorus [+Chorale]: Sei nun wieder zufrieden, meine Seele 10. Aria (Tenor): Erfreue dich, Seele, erfreue dich, Herze 11. Chorus: Das Lamm, das erwürget ist Work: Johann Sebastian Bach composed the church cantata Ich hatte viel Bekümmernis (I had much grief), BWV 21 in Weimar, possibly in 1713, partly even earlier. He used it in 1714 and later for the third Sunday after Trinity of the liturgical year. The work marks a transition between motet style on biblical and hymn text to operatic recitatives and arias on contemporary poetry. Bach catalogued the work as e per ogni tempo (and for all times), indicating that due to its general theme, the cantata is suited for any occasion. The text is probably written by the court poet Salomon Franck, who includes four biblical quotations from three psalms and from the Book of Revelation, and juxtaposes in one movement biblical text with two stanzas from Georg Neumark's hymn "Wer nur den lieben Gott lässt walten". The cantata possibly began as a work of dialogue and four motets on biblical verses. When Bach performed the cantata again in Leipzig in 1723, it was structured in eleven movements, including an opening sinfonia and additional recitatives and arias. It is divided in two parts to be performed before and after the sermon, and scored for three vocal soloists (soprano, tenor, and bass), a four-part choir, and a Baroque instrumental ensemble of three trumpets, timpani, oboe, strings and continuo. Bach led a performance in the court chapel of Schloss Weimar on 17 June 1714, known as the Weimar version. He revised the work for performances, possibly in Hamburg and several revivals in Leipzig, adding for the first Leipzig version four trombones playing colla parte. Extended info of this work: https://bit.ly/3qHPNLc Extended biography: https://bit.ly/3yfbm90 *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ATTRIBUTION: The music is licensed and attributable to: Achiv Production.

🎻 Enjoy the music. Feel free to, follow, like & comment, this is immensely appreciated 🎻 --- Composition Year: 1880 First Performance: 1881-01-04 in Breslau, Saal des Konzerthauses. Breslauer Orchesterverein, Johannes Brahms (conductor) Performers: Budapest Festival Orchestra • Iván Fischer Dedication: University of Breslau Recorded: Februari 2012 Recording quality: High --- Work: Academic Festival Overture (German: Akademische Festouvertüre), Op. 80, by Johannes Brahms, was one of a pair of contrasting concert overtures — the other being the Tragic Overture, Op. 81. Brahms composed the work during the summer of 1880 as a tribute to the University of Breslau, which had notified him that it would award him an honorary doctorate in philosophy. Background: Initially, Brahms had contented himself with sending a simple handwritten note of acknowledgment to the University, since he loathed the public fanfare of celebrity. However, the conductor Bernhard Scholz, who had nominated him for the degree, convinced him that protocol required him to make a grander gesture of gratitude. The University expected nothing less than a musical offering from the composer. "Compose a fine symphony for us!" he wrote to Brahms. "But well orchestrated, old boy, not too uniformly thick!" --- Wikipedia Extended info on this work: http://bit.ly/3QzTyyK Wikipedia: Extended biography: http://bit.ly/3kbFPC0 *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** --- ATTRIBUTION Music contained in this video is licensed to, Channel Classics Records

🎻 Enjoy the music. Please Like, Comment & Subscribe, this is immensely appreciated 🎻 Composition Year: 1735 in Leipzig First performance: 1735-05-19 in Leipzig Dedication: Ascension Day Performers: Edith Mathis - Sopran • Anna Reynolds - Alto • Peter Schreier - Tenor • Dietrich Fischer-Dieskau - Basso. • Münchener Bach-Chor • Münchener Bach-Orchester • Karl Richter - Dirigent. Recorded: Munchen, Herkulessaal, 5/1973; 1&2/1974; 1/1975 1. Chorus: Lobet Gott in seinen Reichen (D major) 2. Recitative (tenor): Der Herr Jesus hub seine Hände auf 3. Recitative (bass): Ach, Jesu, ist dein Abschied schon so nah? 4. Aria (alto): Ach, bleibe doch, mein liebstes Leben (A minor) 5. Recitative (tenor): Und ward aufgehoben zusehends 6. Chorale: Nun lieget alles unter dir (D major) 7. Recitative (tenor and bass): Und da sie ihm nachsahen gen Himmel fahren 8. Recitative (soprano): Ach ja! so komme bald zurück 9. Recitative (tenor): Sie aber beteten ihn an 10. Aria (soprano): Jesu, deine Gnadenblicke (G major) 11. Chorale: Wenn soll es doch geschehen (D major) Work: Lobet Gott in seinen Reichen (Laud to God in all his kingdoms), BWV 11, known as the Ascension Oratorio (Himmelfahrtsoratorium), is an oratorio by Johann Sebastian Bach, marked by him as Oratorium In Festo Ascensionis Xsti (Oratorio for the feast of the Ascension of Christ), probably composed in 1735 for the service for Ascension and first performed on 19 May 1735. Bach had composed his Christmas Oratorio, based on the gospels of Luke and Matthew, in 1734. He had composed an Easter Oratorio already in 1725. The text for the Ascension Oratorio, a compilation of several biblical sources, free poetry and chorales, was presumably written by Picander who had worked on the libretto for the Christmas Oratorio. It follows the story of the Ascension as told in Luke, Mark and the Acts of the Apostles. The oratorio is structured in eleven movements in two parts, taking about half an hour to perform. It is framed by extended choral movements, Part I is concluded by the fourth stanza of Johann Rist's hymn "Du Lebensfürst, Herr Jesu Christ" in a four-part setting. The closing chorale on the seventh stanza of Gottfried Wilhelm Sacer's "Gott fähret auf gen Himmel" is set as a chorale fantasia. The work is richly scored for the feast day, exactly like the Christmas Oratorio for four vocal parts, three trumpets, timpani, two flauti traversi, two oboes, strings and continuo. While the recitatives and the first chorale were new compositions, Bach based the other choral movements and the two arias on parts of earlier cantatas. He used the model for the alto aria again much later for the Agnus Dei of his Mass in B minor. Extended info of this work: https://bit.ly/3JndPDG *Wikipedia Wikipedia Extended biography: https://bit.ly/3yfbm90 *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ATTRIBUTION Music contained in this video is licensed to, Archiv Produktion, Germany

🎻 Enjoy the music. Feel free to, comment like & subscribe, this is immensely appreciated 🎻 Aroldo 'Opera in Four Acts' - Giuseppe Verdi 'Arturo Basile' '1951 Studio recording' Composition Year: 1856–57 (rev. of Stiffelio) First Performance: 1857-08-16 in Rimini. Teatro Nuo Performers: Mina - Maria Vitale, Egberto - Rolando Panerai Aroldo - Vasco Campagnano Briano - Gianfelice De Manuelli Godvino - Aldo Bertocci Enrico - Tommaso Soley Elena - Miti Truccato Pace Conductor - Arturo Basile, Orchestra and Chorus of RAI Torino Recorded: At Studio of RAI Torino, October 24, 1951 Recording quality: Medium, historical recording! *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ATTRIBUTION Music contained in this video is licensed to: Istituto Discografico Italiano

🎻 Enjoy the music. Feel free to, comment like & subscribe, this is immensely appreciated 🎻 Composition Year: 1841 First Performance: 1842-03-09 in Milan, Teatro alla Scala Recorded: Vienna, 1965 Recording quality: High Actors and performers: Nabucco (Nebuchadnezzar), King of Babylon - Tito Gobbi (baritone), Abigail, illegitimate daughter of Nebuchadnezzar-Elena Suliotis (soprano), Zechariah, High Priest of Jerusalem-Carlo Cava (bass), Ishmael, nephew of the King of Jerusalem-Bruno Prevedi (tenor), Fenena, daughter of Nebuchadnezzar-Dora Carral (soprano), Anna, Zachary's sister-Anna D'Auria (soprano), Abdallo, Chief of the Guard-Walter Krautler (tenor), High Priest of the god Baal-Giovanni Foiani (bass) Chorus Of The Vienna State Opera Orchestra – Vienna Opera Orchestra Conductor-Lamberto Gardelli Wikipedia: Extended biography: https://bit.ly/3JPtvPs #Verdi #Gardelli #Opera *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd *** ATTRIBUTION Music contained in this video is licensed to: Philips, 1989. Barcode: 028947586944

🎻 Enjoy the music. Feel free to, comment like & subscribe, this is immensely appreciated 🎻 I due Foscari 'Opera in three Acts' - Giuseppe Verdi 'Gardelli' '1976' Composition Year: 1844 (First publication) First Performance: 1844-11-03 in Rome, Teatro Argentina Performers: Piero Cappuccilli - Baritone: Francesco Foscari, Doge of Venice José Carreras - Tenor: Jacopo Foscari, his son Katia Ricciarelli - Soprano: Lucrezia Contarini, Jacopo's wife Samuel Ramey - Bass: Loredano, member of the Council of Ten Vincenzo Bello - Tenor: Barbarigo, Senator, member of the Giunta Elizabeth Connell - Soprano: Pisana, friend and confidante of Lucrezia Franz Handlos - Bass: Servant of the Doge Mieczyslaw Antoniak - Tenor: Officer of the Council of Ten Austrian Radio Chorus/Gottfried Preinfalk • Austrian Radio Symphony Orchestra Lamberto Gardelli - Conductor Recorded: Vienna, 6/1976 Recording quality: High *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea - https://ko-fi.com/classicalmusicpd ***

🎻 Enjoy the music. Feel free to, comment like & subscribe, this is immensely appreciated 🎻 Ernani 'Opera in four Acts' - Giuseppe Verdi 'Del Monaco, Sereni, Siepi, Previtali - Historical recording 1958 ' Composition Year: 1844 First Performance: 1844-03-09 in Venice, Teatro La Fenice Soli, Chorus, Orchestra, Gaetano Mares (conductor) Performers: Ernani - Mario Del Monaco Don Carlo - Mario Sereni de Silva - Casare Siepi Elvira - Costantina Araujo Giovanna - Renata - Mattioli Don Riccardo - Athos Cesarini Jago - Enrico Sianchi Choir and Symphony Orchestra of Rome of the RAI Conductor - Fernando Previtali Recorded: Milan, 16/9/1958 Work: Ernani is an operatic dramma lirico in four acts by Giuseppe Verdi to an Italian libretto by Francesco Maria Piave, based on the 1830 play Hernani by Victor Hugo. Verdi was commissioned by the Teatro La Fenice in Venice to write an opera, but finding the right subject took some time, and the composer worked with the inexperienced Piave in shaping first one and then another drama by Hugo into an acceptable libretto. As musicologist Roger Parker notes, the composer "intervened on several important points, insisting for example that the role of Ernani be sung by a tenor (rather than by a contralto as had originally been planned). Ernani was first performed on 9 March 1844, and it was "immensely popular, and was revived countless times during its early years". It became Verdi's most popular opera until it was superseded by Il trovatore after 1853. In 1904, it became the first opera to be recorded completely. ATTRIBUTION Music contained in this video is licensed to:MYTO Historical Line

🎻 Enjoy the music. Feel free to, comment like & subscribe, this is immensely appreciated 🎻 Composition Year: 1848 First Performance: 1848-10-25 in Trieste, Teatro Grande Performers: Corrado, Captain of the Corsairs-Jose Carreras - Tenor Giovanni, corsair - Clifford Grant - Bass Gulnara, Seyid's favorite concubine-Monserrat Caballe - Soprano Medora, Corrado's sister-Jessye Norman - Soprano Seyid, Turkish pasha - Gian-Piero Mastromei - Baritone Ambrosian Singers, John McCarthy - Chorus master Philharmonic Orchestra Lamberto Gardelli - Conductor Recorded: London, 8/1975 Recording quality: High Work: Il corsaro (The Corsair) is an opera in three acts by Giuseppe Verdi, from a libretto by Francesco Maria Piave, based on Lord Byron's 1814 poem The Corsair. The first performance was given at the Teatro Grande in Trieste on 25 October 1848. Wikipedia: Extended info on this work: https://bit.ly/3vr2zQR Wikipedia: Extended biography: https://bit.ly/3JPtvPs *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea https://ko-fi.com/classicalmusicpd *** ATTRIBUTION Music contained in this video is licensed to: Phillips, Barcode: 028942611825

🎻 Enjoy the music. Feel free to, comment like & subscribe, this is immensely appreciated 🎻 Remark: The quality of the video leaves much to be desired good, and unfortunately is provided with hard-coded English subtitles, but it is nevertheless an important document about the life of this great conductor and musician. Karl Richter (15 October 1926 – 15 February 1981) was a German conductor, choirmaster, organist, pianist and harpsichordist, and is mostly remembered for his strong connection with Bach's work, as a conductor and musician. Karl Richter was born in Plauen to Christian Johannes Richter, a Protestant pastor, and Clara Hedwig Richter. He studied first in Dresden, where he was a member of the Dresdner Kreuzchor and later in Leipzig, where he received his degree in 1949. He studied with Günther Ramin (former teacher of another prominent Bach specialist, organist Helmut Walcha), Karl Straube and Rudolf Mauersberger. Career: In 1949, the year of his graduation, Richter became organist at St. Thomas Church, Leipzig, where Johann Sebastian Bach had been the music director for 27 years. During his tenure there, he was witness to the inauguration of Bach's new grave and prepared a special performance of Bach's "St. Anne" Prelude and Fugue in E-flat for the reception. In 1952, after marrying Gladys Müller, who bore him two children, Tobias and Simone, he moved to Munich, where he taught at the conservatory there and was cantor and organist at St. Mark's Church. In 1954, Richter founded the Münchener Bach-Chor (Munich Bach Choir), and soon after, the Münchener Bach-Orchester (Munich Bach Orchestra), which rapidly became established as a prominent international ensemble and noted for its interpretations of the works of J. S. Bach and other composers. In the 1960s and 1970s he often recorded and toured Japan, the United States, Canada, Latin America, Eastern Europe and the Soviet Union. Richter served as conductor of both ensembles from 1954 until 1981. Richter played and conducted a wide range of music (sacred works from Heinrich Schütz to Max Reger, as well as the symphonic and concerto repertoire of the Classical and Romantic periods – even including Bruckner symphonies), but is best remembered for his interpretations of Johann Sebastian Bach and George Frideric Handel. Richter's performances were known for their soul-searching, intense and festive manner. He avoided the fluctuations in tempo that were previously characteristic of the prevailing Romantic manner of interpreting Bach, and devoted much attention to the woodwinds and to balance in general. His recordings from 1958 to 1970 are notable for "discipline, rhythmic tautness and expressive intensity". Richter viewed Baroque music as fundamentally impromptu and subjective in nature, explaining in an interview that he had been told his performance of Bach's St. Matthew Passion sounded different from the one he had performed last year. He viewed this observation in a positive light, stating, "It's bad if you play a work with disdainful routine because you have to, and if you no longer have any thoughts or ideas about it." This was one of Richter's strengths, because each concert he conducted was a unique, irreplaceable event, and even though two performances could sound slightly different, both seemed just right in the moment he was playing them. Musicians who played with him acknowledged this and analogized that performing Baroque music with Richter was like playing ping-pong because the back and forth is what directed the piece. Wikipedia extended biography info: https://bit.ly/3NjP4sz *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea https://ko-fi.com/classicalmusicpd *** ATTRIBUTION Music contained in this video is licensed by, Unitel GmbH & Co. KG and ZDF 1986,

🎻 Enjoy the music. Feel free to, comment, like & subscribe, this is immensely appreciated 🎻 Don Carlos 'Opera in four Acts' - Giuseppe Verdi 'Abbado' '1978 Live recording' Composition Year: 1867-1886 First Performance: 1867-03-11 in Paris, Salle Le Peletier This performance is interesting not only for its excellent composition, but also for the fact that Abbado decided to restore some of the music that is not usually performed. Verdi wrote this opera for the Paris Grand Opera in 1867 and made a number of notes before the premiere. Subsequently, he revised the opera several more times, the most radical revision being the Milan edition of 1884, without the first act at Fontainebleau and with other significant changes. This recording generally follows the Modena version of 1886 (with changes made for Milan, but with the first act restored), but it also contains a number of fragments of the original Parisian version, which in our time can be heard quite rarely: a large choral introduction, a scene at the queen's ball, a scene of mourning for Rodrigo, an expanded the final. But there are also a couple of bills - in the first duet of Carlos and Elizabeth and in the romance of Rodrigo. Performers: Philip II - Evgeny Nesterenko Don Carlos - Placido Domingo Elizabeth - Margaret Price Princess Eboli - Elena Obraztsova Rodrigo di Poza - Renato Bruzon The Grand Inquisitor - Luigi Roni La Scala Chorus and Orchestra Claudio Abbado - Conductor Recorded: Milan, 7 January 1978, Live recording Recording quality: Medium Music contained in this video is licensed to: BellaVoce.

Sonata con trombe in D major (sonata with trumpets) - Giuseppe Matteo Alberti Performers: Ludovic Vaillant, Fernand Duplisson, trumpets - Marie-Claire Alain, organ - Ensemble instrumental Jean-Marie Leclair - dir. Jean-François Paillard Notes: The 2nd trumpeter on this recording is not identified Recorded: 1956 1. Sonata con trombe in D major Biography: Giuseppe Matteo Alberti (or Giuseppi) (20 September 1685, in Bologna, Italy – 18 February 1751, in Bologna, Italy) was an Italian Baroque composer and violinist. In 1705, he became a member of the Accademia Filarmonica. From 1709, he played the violin in the orchestra of the San Petronio Basilica in Bologna. Later, he was elected a president of the Accademia Filarmonica six times, the first time in 1721. In 1726, he became maestro di capella of San Giovanni in Monte and in 1734 of San Domenico. His works were influenced by Antonio Vivaldi, and they were much played in England. He wrote mostly instrumental works and published 12 symphonies as well as 10 concertos in six parts for violins. *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea https://ko-fi.com/classicalmusicpd *** ATTRIBUTION Music contained in this video is licensed, under Public Domain.

🎻 Enjoy the music 🎻 Cantata BWV 182, Himmelskönig, sei willkommen - Johann Sebastian Bach 'Karl Richter' Composition Year: 1714-28 in Weimar First Performance: 1714-03-25 in Weimar Performers: Anna Reynolds - Alto • Peter Schreier - Tenor • Theo Adam - Bass Ingo Sinnhoffer (Violin); Hans-Martin Linde (Recorder) [BWV 182/1,3], Conrad Steinemann, Peter Jenne (Recorders) [BWV 182/2,7,8] Continuo: Fritz Kiskalt (Violoncello); Herbert Duft (Double-bass); Karl Kolbinger (Bassoon); Hedwig Bilgram, Elmar Schloter (Organ) Münchener Bach-Chor • Münchener Bach-Orchester • Karl Richter - Conductor Dedication: 6th Sunday in Lent (Palm Sunday) Feast of the Annunciation Recorded: München, Herkulessal, 2 &3/1974; 1/1975 Recording quality: High 1. Sonata 2. Chorus: Himmelskönig, sei willkommen 3. Recitative (bass): Siehe, ich komme, im Buch ist von mir geschrieben 4. Aria (bass): Starkes Lieben 5. Aria (alto): Leget euch dem Heiland unter 6. Aria (tenor): Jesu, laß durch Wohl und Weh 7. Chorus: Jesu, deine Passion ist mir lauter Freude 8. Chorale: So lasset uns gehen in Salem der Freuden *** If you have the means and desire to contribute to this channel, you can Buy Me a Tea https://ko-fi.com/classicalmusicpd *** ATTRIBUTION Music contained in this video is licensed, Archiv Produktion, Germany