Spring 1. Phonographic Copyright p — Nippon Columbia Co. Please open your diaries to page But her tools for asking the questions could use some sharpening. Still, she has an attractive if thin voice, and her music should be warm, shimmering, and inviting for fans of the genre. Or singing them — her wails and yelps now run rampant, being less voice-as-instrument as it is signature calling card to be employed throughout.
However, the Fantasia has not featured since , though Rule, Britannia! Friday, October 8 Curtis Hall, p. Paganini Caprice in A minor, No. Call the Recital Hotline for the most up-to-date information. Call the Curtis Hotline at to obtain the most up-to-date program information for our free student recitals, which occur most Mondays, Wednesdays and Fridays throughout the school year. You can call anytime; the message is available 24 hours a day and gives program informati for an entire week, which allows concertgoers to plan ahead.
The Hotline is easy to use. Simply follow these steps: 1 Dial the Hotline at for the recorded messag 2 Press the number for the day's program you'd like — 1 for Monday 2 for Wednesday 3 for Friday 4 for Tuesday 6k Thursday concerts on a limited basis 5 for Saturday 6k Sunday concerts on a limited basis 3 After listening to one day's program, remain on the line to select another day's program.
In addition to the Hotline, biweekly schedules of the student recital programs will be available in the Common Room at The Institute on the 2nd and 4th Friday of each month. Sonata in D major, D. Monday, October 1 1 Curtis Hall, p. You can call anytime; the message is available 24 hours a day and gives program information for an entire week, which allows concertgoers to plan ahead.
Simply follow these steps: 1 Dial the Hotline at for the recorded message. Would you like to be on Curtis' mailing list? You can also be added to the mailing list by calling during business hours. Friday, October 15 Curtis Hall, p. Programs are subject to change. Sunday concerts on a limited basis 3 After listening to one day's program, remain on the line to select another day's program.
Voice Coach Tonight's recital will be performed without intermission. Photographic and recording equipment may not be used in Curtis Hall. It provides merit-based full-tuition scholarships for all its students, attracting the finest young musicians from the entire world.
The Curtis Institute of Music offers numerous and varied opportunities for music lovers to hear the students perform through the Student Recital Series and in performances of the Curtis Opera Theatre and the Symphony Orchestra.
At Curtis, student recitals are an integral part of every student's education. In keeping with The Institute's mission, it is essential that all Curtis students have the opportunity to perform, and perform often, in public.
The Student Recital Series is the primary vehicle by which students gain this experience, giving the young musicians the opportunity to appear as soloists and members of chamber music groups. Headed by Mikael Eliasen, it is composed of approximately 25 singers of outstanding talent between the ages of 18 and This philosophy has proven successful over the years: Since The Institute's founding, over 40 alumni have gone on to sing with the Metropolitan Opera, and Curtis graduates can be found on the rosters of opera companies worldwide.
Under the direction of Otto-Wemer Mueller, head of Curtis' conducting department; David Hayes, music director of the Philadelphia Singers; and distinguished visiting conductors, the ensemble gives several concerts throughout the year. Thankful Feelings after the Storm: Allegretto Wolfgang Sawallisch Wolfgang Sawallisch is currently in his seventh season as music director of the Philadelphia Orchestra.
A graduate of Munich's Academy of Music, Mr. Sawallisch began his conducting career in at the Opera Theatre of Augsburg; in , he became the youngest conductor ever to lead the Berlin Philharmonic. He subsequently held music directorships with the orchestras of Aachen, Wiesbaden and Cologne, as well as with the Hamburg Philharmonic, Vienna Symphony, Orchestre de la Suisse Romande and the Bavarian State Opera in Munich, where he also served as general manager.
Recipient of numerous awards and honors, Mr. Also a gifted pianist, Mr. Roberto Diaz Violist Roberto Diaz, a graduate of The Curtis Institute of Music, has earned high praise for his work both as a soloist and as a chamber musician. Before being named principal viola for the Philadelphia Orchestra in , Mr. Diaz served as principal viola of the National Symphony and prior to that as a member of the Boston Symphony. As a chamber musician, Mr.
Diaz began his training at the Chilean Conservatory; while at Curtis, he studied with Joseph de Pasquale, retired principal violist of the Philadelphia Orchestra. Richard E. His musical talent became obvious early. Louise Homer, the distinguished Metropolitan Opera contralto, was his aunt her husband Sidney was a well-known song writer in the early part of the century.
He studied composition with Rosario Scalero, piano with Isabelle Vengerova and, eventually, conducting with Fritz Reiner. As he matured, he developed a superior baritone voice. Barber began composing seriously at the age of 18, and when he was 23 and approaching graduation from Curtis, his Overture to The School for Scandal was performed by the Philadelphia Orchestra. The English writer Robert Angles says of Barber's music that it is "notable for its memorable quality of sustained lyricism.
Few 20th-century composers can match his melodic gift, its flow and its high degree of expressiveness. Her only dowry was an overloaded account of debts, and the newlywed Berlioz was determined to satisfy her creditors and give her a chance for a fresh start on the Parisian stage. The concert proved to be one of Berlioz's rare successes with Parisian public and critics. Another surprise awaited Berlioz that night, as he related in his Memoirs. He stopped me in the passage and seized my hand, uttering glowing eulogies that thrilled and moved me to the depths.
It was Paganini. That was the beginning of my friendship with the great artist who exerted such a happy influence on my career. He told me that he had a Stradivarius viola, a marvellous instrument, which he wanted to play in public; but he lacked the right music. Would I write a piece for it? His earliest plan for the composition included a chorus in addition to the orchestra and solo viola, and the subject was to be The Last Moments of Mary Stuart, inspired by a then-popular play running in Paris.
The chorus was soon dropped, however, and Berlioz proceeded with what he called simply his "new symphony. I should be playing all the time. My idea was to write a series of orchestral scenes in which the solo viola would be involved, to a greater or lesser extent, like an actual person, retaining the same character throughout.
I decided to give it as a setting the poetic impressions recollected from my wanderings in the Abruzzi, and to make it a kind of melancholy dreamer in the style of Byron's Childe Harold. Hence the title of the symphony, Harold in Italy. A melody representing the chief protagonist of the work the idee fixe is heard in each of the movements, musically and programmatically unifying the overall structure. Though the solo viola is often entrusted with this theme and its embellishments, the work is certainly not the virtuoso piece that Paganini envisioned.
Paganini never performed it. The demands on the soloist are less for technique than for richness of tone and depth of musicianship. The opening movement Harold in the Mountains. Scenes of Sadness, of Happiness and of joy is cast in two large sections. The extended slow introduction begins with a finely crafted contrapuntal strain for strings that leads to a minor-mode 5 presentation of the idee fixe by the woodwinds in octaves. The mood brightens, and soon the solo viola enters to sing this main theme in a tender setting.
The main section of the movement, a sonata form in fast tempo, is filled with joyful exuberance engendered by some of the most inventive rhythmic and orchestral writing in the concert literature.
The second movement March of the Pilgrims, Singing their Evening Prayer suggests the steady tread to some holy shrine through its incessant pizzicato bass line supporting a simple song in the violins. The movement is built in the form of an arch, beginning softly and reaching its loudest point at the center before subsiding to a quiet close, rather as though the pilgrims were passing by in solemn procession.
The following Serenade of a Mountaineer of the Abruzzi to his Mistress includes a piping melody and a pastoral theme, which are first presented independently and then together in the movement's closing section.
After these preparatory stanzas, the colorful main body of the movement begins. Berlioz characterized this music as "that furious orgy where wine, blood, i joy, rage, all combined, parade their intoxication; in this brigand scene the orchestra becomes a regular pandemonium The first movement, filled with verdant sweetness and effusive good humor, is headed The Awakening of Cheerful Feelings at the Arrival in the Country.
The violins present the simple theme. The melody grows more vigorous before it quiets to lead almost imperceptibly to the second theme, a descending motive played by violins over a rustling string accompaniment.
Again, the spirits swell and then relax before the main theme returns to occupy most of the development. The recapitulation returns the themes of the exposition in more richly orchestrated settings.
The second movement, Scene at the Brook, continues the mood and undulant figuration of the preceding movement. The form is a sonata-allegro whose opening theme starts with a fragmentary idea in the first violins above a rich accompaniment.
The second theme begins with a descending motion, like that of the first movement, but then turns back upward to form an inverted arch. A full development section utilizing the main theme follows. The recapitulation recalls the earlier themes with enriched orchestration, and leads to a most remarkable coda.
In the movement's closing pages, the rustling accompaniment ceases while all Nature seems to hold its breath to listen to the songs of three birds — the nightingale, the dove and the cuckoo.
Beethoven titled the scherzo Merry 6 Gathering of the Peasants and filled the music with a rustic bumptiousness and simple humor that recall a hearty if somewhat ungainly country dance. The festivity is halted in mid-step by the sound of distant thunder portrayed by the rumblings of the low strings, and a convincing storm scene ensues. As the storm passes away over the horizon, the silvery voice of the flute leads directly into the finale, Shepherd's Song: joyful, Thankful Feelings after the Storm.
The clarinet and then the horn sing the unpretentious melody of the shepherd, which returns, rondo-fashion, to support the form of the movement. Rodda Tonight, many Friends of Curtis are attending this concert at a special discount. Join the Friends! Enjoy this exclusive benefit and many others! Call Celebrate 75 years of great music-making on Rittenhouse Square. Sylvia T. Bronner Helen W.
Drutt English Thomas J. Farrell, Jr. Marian Hettel James R. Ledwith, Esquire David G. Marshall R. Anderson Pew, ex officio William H. Roberts, Esquire Caro U.
Rock Dr. Rock ex officio Mrs. Samuel R. Bieler, Inc. Curtis Fellowship Kyle A. Luther W. Please join us most Monday, Wednesday and Friday evenings during the school year, when Curtis students perform varied programs of solo and chamber music. These free recitals start at 8 p. For a recorded message of weekly program information, please call the Recital Hotline at To receive a copy of The Curtis Institute of Music's season brochure and other information about The Institute, please fill out a Mailing List Request Form, which is available at the Friends of Curtis table in the foyer.
We are honored to be chairing tonight's gala benefit event which, this year, celebrates the past, present and future of the world's pre-eminent music conservatory. For 75 years, The Curtis Institute of Music has prepared young artists for distinguished careers as soloists, conductors, composers and members of symphony orchestras, chamber ensembles and opera companies worldwide.
Roberto Diaz, one of these gifted alumni and principal violist of the Philadelphia Orchestra, is this evening's soloist. The present anniversary year brings added luster and excitement to Curtis, including a tour this fall by the orchestra of 14 major European cities, with Andre Previn on the podium. Throughout the season, the student recitals and opera performances that so richly enhance Philadelphia's musical life wi continue to delight audiences. Look on the stage tonight and you will see the future: extraordinarily talented young people who are able to attend Curtis on merit-based full-tuition scholarships because of the vision of its founder and the continuing generosity of friends like you.
And don't forget their colleagues in the keyboard, vocal, conducting and composition departments at work just up Locust Street. We are especially grateful to Maestro Sawallisch for conducting this evening's concert. We also salute honorary chairs Benita Valente and J. We express our deepest gratitude to Jack Wolgin, who has endowed the orchestral concert series, and to PNC Bank, the corporate sponsor of tonight's benefit.
Finally, we thank all of you for joining us tonight! Your support of The Curtis Institute of Music is as vital to its future as it has been to its past. Elizabeth P. If you're in athletics, you get trophies. If you're in politics, you get re-elected. If you're in music, you get accepted to The Curtis Institute of Music. It really is that simple. It is not hyperbole to suggest that tonight's concert will showcase the musicians who will comprise the next generation of the leading symphonic orchestras in the United States and around the world.
As chairman of the Philadelphia Orchestra's finance committee, I am quite familiar with The Curtis Institute's contributions to our Fabulous Philadelphians, led by the incomparable Maestro Sawallisch.
Tonight you will hear the world's greatest youth orchestra under the baton of one of the world's legendary giants of the podium, a maestro we are indeed fortunate to have in Philadelphia. At PNC, we are committed to being the best at what we do, and to putting our best efforts to work on behalf of the Philadelphia region. That is why we are proud to sponsor tonight's season premiere. You see, in financial services, there also is an easy way to determine if you are among the best at what you do.
Amanda and I offer our congratulations to everyone who helped make this night possible — in particular, the musicians of the Curtis Symphony Orchestra. First, you work tirelessly on behalf of your clients. Second, you use your business success to support organizations such as The Curtis Institute of Music. Sincerely, Richard L. Rock, chairman of the Curtis Board of Trustees. Graffman continued. Without a significant infusion of funds, the ability of Curtis to continue music training and education of the finest young musicians in the world at the highest levels, and its unique merit-based full-tuition scholarship policy, would be in jeopardy.
Campaign Chairman and Curtis Trustee, R. Anderson Pew, described Sound for the Century as a five-year campaign. The Sound for the Century Campaign will be national and international in reach. Joseph S. Iso Briselli Vera D. Bruestle Blanche Burton-Lyles Mr. Joseph A. Clifton Mr. Abraham M. Guth Mr. John C. Haas Mr. Robert P. Hauptfuhrer Mr. Edwin and Wilma Kellerman Mary A. Kilroy-Pogach Mr.
Fredric R. Kornberg Drs. Kluger Christina and Jeffrey Lurie Mrs. Medveckis and Ms. Randi Zemsky Harvey S. Shipley Miller Mr. Edward A. Montgomery, Jr. Elizabeth Moos and L. Daniel Dannenbaum Robert E. Betty U. Musser Mr. Meyer P. Rock and Constance Benoliel Mrs. Rossman Dorothy Scheurer Richard A. Shapp Mr. Silver Mr. Josiah Stevenson IV Mr. Dana H.
Stewardson Mr. Lawrence A. Hirsig Scott M. Christina Weiss Lurie David G. Smoot Kurt M. Edward W. Arian Frank S. Benoliel Mrs. Cary William Bok Mrs. Charles W. Bowden, Jr. Kidder John A. Morris C. Heinzen, Chair Dianne Bernstein Mrs. Robert A. Bildersee Mrs. Cary William Bok William W.
Broom L. Daniel Dannenhaum Mrs. Clair G. Gary Graffman Mrs. David M. Gray Mrs. Scherzo 4. Pas de deux Adagio 5. Pas de deux Variation 6. Tempo giusto 9. Allegretto Moderato alla breve - Tempo agitato senza troppo accelerare - Tempo I Larghetto concertante - Marche - Introduction 2. Pas d'action 3. Pas de Deux 5. Marche - Conclusion Orpheus Chamber Orchestra 6. Intrada 8. Song 9. Wedding Dance Eulogy: Lento Eclogue: Con moto Andante - Interlude: L'istesso tempo Vivace 3.
Andantino 4. Allegro Concertino 5. Tango Orpheus Chamber Orchestra 7. I 9. II III IV Asciugate i begli occhi Ma tu, cagion di quella Pantomime I 3. Pas de deux 4. Pantomime II 5. Scherzo: Dance of the Princesses 6. Pantomime III 7. Rondo 8. Infernal Dance 9. Lullaby Russian Dance Scene 2 Petrouchka's Room Scene 3 The Moor's Room - Dance of the Ballerina Waltz The Ballerina and the Moor Scene 4 The Shrovetide Fair Evening Dance of the Wet-nurses Dance of the Peasant and the Bear The Merchant and the Gipsies Dance of the Coachmen and the Grooms The Masqueraders Death of Petrouchka The Police and the Charlatan Ovsen Four Russian Peasant Choruses 4.
Kyrie Gloria Credo Sanctus Euntes in mundum Surge, aquilo Ad Tres Virtutes Hortationes Brevis Motus Cantilenae Da pacem Domine 2. Assumpta Maria 3. Prelude London Sinfonietta, Oliver Knussen Exaudi Interlude London Sinfonietta, Oliver Knussen Le Faune 5. The Jackdaw 9. Mtusov Gdye v lunnom svyetye The White Moon Akahito Mazatsumi Kornilo Uncle Pierre Natashka Natasha Polkovnik The Colonel Spi, kot Sleep, pussy Kot na pyechi The cat on the stove Bai-bai Lullaby Tilibom Ducks, Swans and Geese The Bear's little Song The Drake Four Russian Songs 2.
Counting Song Four Russian Songs 3. Tablemat Song Four Russian Songs 4. Song of Parasha "Droog moi mily" Tilim-Bom 6. Tilimbom, tilimbom Pastorale 7.
Song without words for voice and four wind instruments Three Songs Recollections of my Childhood 8. Sorochenka The Magpie 9. Vorona The Rock Ramuz Martin Bruns Musick to hear Full fadom five Sylezyen' The Drake Syektanskaya A Russian Spiritual Gusi y lyebyedi Geese and Swans Tilim-bom Two Poems by Konstantin Bal'mont Nyezabudochka-tsvyetochek The Flower After these things God tested Abraham And Abraham took the wood of the burnt offering Kennedy Igor Stravinsky First Piece 2.
Second Piece 3. Third Piece 4. Duet for bassoons Orpheus Chamber Orchestra 5. The Soldier's March 8. Music to Scene I 9. Music to Scene II Part 2 The Royal March Three Dances Tango-Waltz-Ragtime Great Choral Sinfonia Lento - Allegro moderato Tema con variazioni Eglogue I 3.
Eglogue II 4. Gigue 5. Introduzione 7. Serenata 8. Aria 9. Tarantella Sinfonia Danses suisses Scherzo Epitaphium Allegro - Agitato 3. Andante 5. March Waltz Andante Balalaika Napolitana Valse pour les enfants Allegro giusto 2. Adagietto 6. Hymn Serenade in A for Piano 8. Romanza Serenade in A for Piano 9. Rondoletto Serenade in A for Piano Con moto Notturno Quattro variazioni Moderato Theme with Variations: Largo English Baroque Soloists. Jerzy Sterczynski, piano.
Roberta Alexander, soprano. Tan Crone, piano. Trinity College Chapel Choir. Orquestra de l'Infinit. Martin Matalon: "Lignes de fuite". Modest Mussorgsky: "Quadres d'una exposi-.
Un programa de Roger Alier i Marcel Gorgori. Joan Sutherland Joan Sutherland. Anna Caterina Antonacci, soprano. Royal Albert Hall. Luciano Pavarotti, tenor Carlo. Joan Sutherland, soprano Linda. Joan Sutherland, soprano Gilda. Huguette Tourangeau, mezzosoprano Maddalena. Luciano Pavarotti, tenor Duke. Joan Sutherland, soprano Margarida de Valois.
Huguette Tourangeau, mezzosoprano Urbain. Kiri Te Kanawa, soprano Primera dama d'honor. Ambrosian Opera Chorus. New Philharmonia Orchestra. Joan Sutherland, soprano Olimpia. Jacques Charon, tenor Spalanzani. Joan Sutherland, soprano Giuletta. Huguette Tourangeau, mezzosoprano Nicklausse. Joan Sutherland, soprano Hanna. Bruno Canino, piano. Mathieu Lussier, fagot. Ricardo J. Roca Padilla, piano. Academy of Saint Martin in the Fields.
Quartet Enesco. Rachel Beckett i Catherine Latham, flautes de bec. Guillemette Lauren, mezzosoprano. Makato Sakurada, tenor. Philippe Huttenlocher i Arnaud Marzorati, baixos. Orquestra Barocchisti. Brigitte Balleys, mezzosoprano. Sergei Larin, tenor. Jordi Savall, viola de gamba. Camerata de Salzburg. Topi Lehtipuu, tenor.. Roberto Alagna, tenor Rodolfo.
The King's Consort. Maria Joao Pires, piano. Angelica May, violoncel. Collegium Aureum. Modo Antiquo. Daniela Pletschacher, viola. Friedemann Kupsa, violoncel. Anima Eterna. Ruth Ziesak, soprano. Elisabeth von Magnus, contralt. Paul Agnew, tenor. Klaus Mertens, baix. Cor Barroc d'Amsterdam. Orquestra Barroca d'Amsterdam. Peter Hurford, orgue. Ambrosian Chorus. Willam Walton: Simfonia n. Susan Gritton soprano. City Halls. Alison Stephens, mandolina. London Mozart Players.
Pedro Caldeira Cabral, guitarra. Mark Padmore, tenor. Il Seminario Musicale. Il Fondamento. Montserrat Alavedra, soprano. Miguel Zanetti, piano. Simon Preston, orgue. James Gourlay, tuba. Royal ballet sinfonia. Orquestra de Cambra d'Europa. Orquestra della Svizzera Italiana. Endellion String Quartet. Sonatori de la Gioiosa Marca. Eric Schneider, piano.
Josep Manzano, guitarra. Elena Obraztsova, mezzosoprano. La Stagione. Le Nuove Musiche. Christoph Richter, violoncel. Laia Masramon, piano. Sonata n. Sonata en Sol, HWV Erik Bosgraaf, flauta de bec. Enregistrat el dimarts 12 de maig del Richard Strauss: "El cavaller de la rosa". Joan Sutherland. Joan Sutherland, soprano Konstanze. Joan Sutherland, soprano. Richard Bonynge, piano.
Madre, Madre, parlate! Anne Collins, mezzosoprano l'Abadessa. Joan Sutherland, soprano Suor Angelica. Son dannata! Amadeus Quartet. Orquestra Tonhalle de Zuric. Barry Tuckwell, trompa. Boris Berman, piano. Prazak Quartet.
Pilar Lorengar, soprano. I Musici. The Saint Paul Chamber Orchestra. Les Veilleurs de Nuit. Jordi Savall i Christophe Coin, violes de gamba. Orquestra de Cambra de Toronto. Quartet de Clarinets de Barcelona. Allegretto", 3r mov. Jozef De Beenhouwer, piano. Javier Perianes, piano. Ensemble Vocal Regional de Champagne-Ardenne.
Stephen Hough, piano. Cecilia Bartoli, mezzosoprano Susanna. Simfonia Ciutat de Londres. Luis Orlandini, guitarra. Jorge Arango. Enregistrat el dijous 25 de novembre del Melos Quartett. Marie-Claire Alain, orgue.
Brasil Guitar Duo. The Consort of Musicke. Orquestra de Cambra Franz Liszt. Renato Capecchi, baix Uberto. Carmen Bustamante, soprano Serpina. Flute Force. John Aler i Steven Paul Spears, tenors. Wilbur Pauley, baix. Allegretto", 2n mov. Les Fin'Amoureuses. Henri Tomasi: Concert per a trompeta.
Anton Bruckner: Simfonia n. Alexandre Baty, trompeta. Presentat per Xavier Cazeneuve. Joan Sutherland, soprano Hanna Glawari. Werner Krenn, tenor Danilo. Valerie Masterson, soprano Valencienne. John Brecknock, tenor Camille. Regina Resnik, soprano Zo-zo. John Fryatt, tenor Cascada. Francis Egerton. Ambrosian Singers. The Academy of Ancient Music. Martha Senn, mezzosoprano. Carme ensemble. Sinfonietta de Mont-real. Les Arts Florissants. Orquestra Ciutat de Granada. Ronald Brautigam, piano.
New Sinfonietta Amsterdam. Alexander Chaushian, violoncel. Ashley Wass, piano. Presentat per Carmina Malagarriga. Osian Ellis, arpa. Dora Schwarzberg i Lucy Hall, violins. Nobuko Imai, viola. Natalia Gutman, violoncel. The Rose Consort of Viols. Ars Antiqua Austria. Rafael Orozco, piano. Avery Fisher Hall. Nova York. The King Noyse. Orchestra of St. Orquestra de Cambra de Granollers. Membres de l'Orchestra of the Eighteenth Century. Luciano Pavarotti, tenor Edgardo. Orquestra de la Royal Opera House.
Claudia Marchi, soprano Venus. Alessandro Calamai, baix Mart. Cor del Teatre Social de Rovigo. Lawrence Brownlee, tenor. Antonino Siragusa, tenor. Kobie van Rensburg, tenor. Barry Banks, tenor. John Osborn, tenor. Yeghishe Manucharyan, tenor. Peter Volpe, baix. David Crawford, baix.
Lola Casariego, mezzosoprano. Orquestra Barroca de Sevilla. Paul Lewis, piano. Graham Mitchell, contrabaix. Leopold String Trio.
Steven Osborne i Paul Lewis, piano a quatre mans. Lilia Bizimeche-Eisinger, mezzosoprano. Guy Fletcher, tenor. Tha Academy of Ancient Music. Vasiljka Jezovsek, soprano Diana. Ann Monoyios, soprano Nice. Manuel Labrada, clarinet baix. Suzie le Blanc i Philippa Hyde, sopranos.
Michael Chance i Robin Blaze, contratenors. Joseph Cornwell, tenor. Richard Wistreich, baix. The Playfort Consort. The Parley of Instruments. Dorothea Craxton, soprano. Frederic Chiu, piano. Ludwig van Beethoven: Concert per a piano i orquestra n. Presentat per Xavier Cazeneuve. Robbins Landon. Gabriele Hierdeis, soprano. Alison Browner, mezzosoprano. Marcus Ullmann, tenor. Johann Christian Bach-Akademie. Heather Schmidt, piano. Orquestra del Concertgebouw d'Amsterdam. Ars Antiqua Austria.
Sarah Walker, mezzosoprano. Roger Vignoles, piano.. Pilar Lorengar, soprano. Roger Muraro, piano. Francis Petit, xilorimba. Renaud Muzzolini, glockenspiel. Presentat per Joan Vives. Mikhail Rudy, piano. Balthasar Neumann Chor i Ensemble.
Gillian Benet, arpa. The Women's Philharmonic. Mac McClure, piano. David Daniels, contratenor Orfeu. Jonas Kaufmann, tenor Canio. Norton Morozowicz, flauta. Noel L. Devos, fagot. Arturo Benedetti Michelangeli, piano. Anna Netrebko, soprano Gilda. Nancy Fabiola, mezzosoprano Maddalena. Eric Halfvarson, baix Sparafucile. Ludwig van Beethoven: Simfonia n.
Sala Xavier Montsalvatge. Nathalie Stutzmann, contralt. Solistes Barrocs Anglesos. Stephen Orton, violoncel. Stephen Reay, fagot. Ann Monoyios, soprano. Elisabeth Graf, contralt.
Oly Pfaff, tenor. Franz-Josepf Selig, baix. Collegium Cartusianum. Jane Eaglen, soprano. Waltraud Meier, mezzosoprano. Ben Heppner, tenor. Bryn Terfel, baix.
Coral Sant Jordi. Cor de Cambra de Sant Cugat. Cobla Sant Jordi-Ciutat de Barcelona. Anton Bruckner: Simfonia n. Teatre dels Camps Elisis. Odeon Trio. Ian Bostridge, tenor. Marie Luise Neunecker, trompa. Benny Goodman, clarinet. Fritz Maag, violoncel. Leon Pommers, piano. Berkshire String Quartet. Academy of Saint Martin in the Fields. Bernat Castillejo, flauta. Adolf Pla, piano. Orquestra del Festival de Budapest.
Krystian Zimerman, piano. Joanne Lunn, soprano. Richard Wyn, contratenor. Julian Podger, tenor. Gerald Finley, baix. Monteverdi Choir. Mullova Ensemble. John Alley, piano. Charles Fullbrook, timbales. John Browning, piano. Olli Mustonen, piano. Borodin Trio. Saito Kinen Orchestra. Philharmonia Baroque Orchestra. London Classical Players. Peter Hurford, orgue. Orquestra de Cambra del Concertgebouw d'Amsterdam.
Gerald Moore, piano. Artur Pizarro, piano. Musici di San Marco. Jonas Kaufmann, tenor Siegmund. Anja Kampe, soprano Sieglinde. Orquestra del Teatre Mariinsky de Sant Petersburg. Pinchas Zukerman, violoncel. The Tallis Scholars. Beaux Arts Trio. Quartet Henschel. Katherine Watson, soprano. Katherine Watson, soprano Dafne. Ensemble Arcangelo. Zankel Hall. Carnegie Hall. Nova York. Ala Voronkova. La riquesa musical del segle passat. Cent anys d'estils ben diferents.
Angela Denoke, soprano. Burkhard Fritz, tenor. West-Eastern Divan Orchestra. Friedemann Immer, trompa. Pedro Memelsdorff, flauta de bec. Le Concert des Nations. Josep Fuster, clarinet.
Guim Garcia-Balasch, saxo alt. Elena Garcia, veu. Roger Mas, piano. Tom Warburton, contrabaix. Marc Ayza, bateria. Nova Jazz Cava. Quartet Talich. Bruno Beaufils, orgue. Lotte Lenya, soprano Anna. Sigmund Roth, baix Mare. Julius Katona, tenor Primer fill. Jorge Bolet, piano. Lasalle Quartet. Amadeus Quartet.
Paul Lewis, piano. Claudi Arimany, flauta travessera. Orquestra de Cambra Russa. Walter Vestidello, violoncel. Sonatore de la Gioiosa Marca. Allegro ritmico", 1r mov. Northern Sinfonia. Jonas Kaufmann, tenor Federico. Orchestra Barocca Modo Antiquo. Magdalena Kozena, mezzosoprano Carmen. Bella Davidovich, piano. Jon Manasse, clarinet. Franz Joseph Haydn: Variacions en fa m, Hob. Ludwig van Beethoven: Sonata per a piano n. Angela Hewitt, piano.
Wigmore Hall. Sophie Daneman, soprano. Les Arts Florissants. Quartet de Corda d'Oslo. Alberto Reyes, piano. Orpheus Chamber Orchestra. Pere Ros, viola de gamba. Juan Carlos Rivera, tiorba. Leonyne Price, soprano Leonora. Vladimir Kraniev, piano. The Brabant Ensemble.
Julian Bream, guitarra. Agnieszka Grzywacz, soprano Farnace. La Capilla Real de Madrid. Ernst Ottensamer, clarinet. Josep Vicent Giner, orgue. Xavier Sabata. Claudio Arrau, piano. Membres de l'Alban Berg Quartett.
Stepahn Haack, violoncel. Micaela Gelius, piano. Lawrence Dutton, viola. Gerd Turk, tenor Evangelista. Monique Zanetti, soprano. Kai Wessel, contratenor.
Bruno Renhold, Samuel Husser, tenors. Jacques Bona, baix. Ensemble Vocal Sagittarius. Le Parlement de Musique. Katharine Fuge, soprano.
Robin Tyson, contratenor. Vernon Kirk, tenor. Jonathan Brown, baix. Marie-Paule Dotti, soprano. Guillemette Laurens, mezzosoprano. Luca Lombardo, tenor. Francesco Cera, orgue. Allegro molto", 3r mov. Kym Amps, soprano. Christopher Robson, contralt. Anton Rosner, tenor. Albert Hartinger, baix. Benedikt de Salzburg.
Conjunt Barroc de Salzburg. Conjunt de Vent d'Innsbruck. Vivace", 3r mov. Arthur Rubinstein, piano. Orquestra Ciutat de Granada. Allegretto", 3r mov.
Andreas Staier, fortepiano. Claude Helffer, piano. Jean Yves Thibaudet, piano. Piotr Beczala, tenor Rodolfo. Orquestra de la Metropolitan Opera de Nova York. Hortus Musicus. Ruth Ziesak, soprano. Elisabeth von Magnus, contralt.
Paul Agnew, tenor. Klaus Mertens, baix. Cor i Orquestra Barroca d'Amsterdam. Roger Bevan Williams, orgue. Freon Ensemble. William Howard, piano. Clemens Hagen, violoncel. Gran Sala del Mozarteum.image All images latest This Just In Flickr Commons Occupy Wall Street Flickr Cover Art USGS Maps. Metropolitan Museum. Top Full text of "Recital programs" See other formats.