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PHILIDOR Carmen Sæculare Overtures Cangemi • Gubisch • Litaker • Abete • Coro della Radio Svizzera Orchestra della Svizzera Italiana • Jean-Claude Malgoire Prague Chamber Orchestra • Christian Benda

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François-André Danican Jean Claude Malgoire

PHILIDOR Jean Claude Malgoire began his musical studies in his native Avignon. (1726-1795) At the Paris Conservatoire he took first prizes in oboe and in chamber Carmen Sæculare music, embarking on a brilliant career as an instrumentalist at the age of twenty, crowned by the first prize in 1968 in the Geneva International Competition. His interest in contemporary music brought CD 1 54:42 CD 2 55:16 a recording of music by Holliger, Castiglioni and Shinohara and in 1972 Bruno Maderna chose him as a principal in the Ensemble Simphonie No. 27 in G major Pars Quarta Européen de Musique contemporaine. He was subsquently appointed (Ouverture: Le maréchal ferrant) 1 Phœbe silvarumque potens Diana by Charles Munch as cor anglais soloist in the Orchestre de Paris. At 1 Allegro 5:48 (soprano, mezzo-soprano and chorus) 2:40 the same time he developed his interests as a conductor and 2 Andante con spirito 3:43 2 Alme Sol, curru nitido diem (bass and chorus) 2:58 musicologist, with his first opera recordings in 1975 paving the way 3 Presto 3:12 3 Rite maturos aperire partus (soprano) 3:47 for engagements in Copenhagen, Stockholm, Covent Garden in 4 Certus undenos decies per annos (chorus) 3:00 London, the Paris Opéra Garnier, Karlsruhe, Palermo, and the Teatro Real in Madrid. He has more than 140 Carmen Sæculare 5 Vosque veraces cecinisse, Parcæ (bass) 3:08 recordings to his credit, many of them of works recorded for the first time. Much of this has been brought about with 6 Fertilis frugum pecorisque Tellus the orchestra of the Grande Ecurie et la Chambre du Roy, founded in 1966, with which he has given more than two 4 Ouverture 4:31 (soprano, mezzo-soprano and chorus) 3:10 thousand concerts throughout the world. As the head of the Atelier Lyrique de Tourcoing since 1981, he has 5 Prologus: Odi profanum vulgus (tenor) 1:18 7 Conditio mitis placidusque (soloists and chorus) 2:29 conducted operas that have twice won the prize for best opera production of the year, in 1983 with L’incoronazione 8 Roma si vestrum est opus (tenor) 1:26 di Poppea and in 1995 for the Mozart/Da Ponte trilogy Le nozze di Figaro, Don Giovanni and Così fan tutte. In Prima Pars 9 Di probos mores docili iuventæ (tenor) 3:34 addition to his interest in the music of the seventeenth and eighteenth centuries, he is one of the few conductors to 6 Spiritum Phœbus mihi (tenor) 2:00 0 Quæque vos bobus veneratur albis have explored repertoire ranging from the eleventh to the twentieth centuries. In Europe he has appeared with 7 Deliæ tutela Deæ fugaces (tenor and chorus) 0:53 (bass and chorus) 3:30 orchestras including the Orchestre National de France, the Orchestre National de Lille, the Orchestre de Paris, the 8 Nupta iam dices (tenor and chorus) 2:25 ! Iam mari terraque manus potentes (tenor) 0:39 Orchestre National d’Île de France, and the Dresden and Kraków Philharmonic Orchestras. @ Iam Fides et Pax et Honos Pudorque 1:21 Seconda Pars # Augur et fulgente decorus arcu (mezzo-soprano) 2:34 9 Dive, quem proles Niobea magnæ (chorus) 5:03 $ Quæque Aventinum tenet Algidumque (soloists) 2:20 0 Ceteris maior, tibi miles impar (bass) 1:00 % Hæc Iovem sentire Deosque cunctos ! Ille, mordaci velu icta ferro (bass and chorus) 3:54 (soloists and chorus) 1:47 @ Ni tuis flexus Venerisque gratæ (soprano) 4:39 # Doctor argutæ fidicen Thaliæ (chorus) 3:28 ^ Le sorcier: Ouverture in G major 8:54

Tertia Pars & Tom Jones: Ouverture in B flat major 7:58 $ Dianam teneræ dicite virgines (soprano and mezzo-soprano) 5:14 % Vos lætam fluviis et nemorum coma (tenor and chorus) 4:27 ^ Hic bellum lacrimosum (soloists and chorus) 3:05

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Orchestra della Svizzera Italiana François-André Danican Philidor (1726-1795) Carmen Sæculare The Orchestra della Svizzera Italiana (OSI) has been in existence under this name since 1991, being previously known as the Orchestra of Italian Swiss Radio and Television (Orchestra RTSI), to underline its development within The name Philidor, by which members of the family Philidor began to pay more attention to the game of the structure of Italian Swiss Radio and Television. The first orchestra was officially founded in 1935 with 35 became known, stemmed from the great-grandfather of chess, a pastime among older musicians at Versailles. players, based on an earlier ensemble established in 1933 with the Radio della Svizzera Italiana. The first resident François-André Danican Philidor, Michel Danican, an At this he acquired considerable ability, instructed by director was Leopoldo Casella (1935-68), succeeded in 1938 by Otmar Nussio, who broadened the repertoire, oboist in the service of King Louis XIII, who compared M. de Kermur, Sire de Légal, a leading player of the particularly in regard to contemporary music, with the support of Edwin Loehrer, chorus-master to RSI from 1937 his skill in playing to that of the famous contemporary time in France, whom he was eventually able to defeat. to 1981. Marc Andreae was resident conductor from 1969 to 1990, a period in which particular emphasis was placed Italian oboist Filidori. The name ‘Danican’ was a His chess opponents included Voltaire and Rousseau, on contemporary music and the work of conteporary Swiss composers. Nicholas Carthy served as resident French version of the Scottish ‘Duncan’, an indication and he came to know other leading figures of the French conductor from 1993 to 1996, followed by Alain Lombard from 1999 to the present, while guest conductors have of the earlier origins of the family. Michel Danican’s intellectual establishment, with frequent meetings at the included Serge Baudo from 1997 to 1999. The orchestra has played an important part in the creation and son Jean, the grandfather of François-André, enjoyed a Café de la Régence. A concert tour to The Netherlands development of the Settimane Musicali of Ascona (from 1946), the Concerti di Lugano (1953-1976) and the career as an oboist and composer, serving in the first in 1745 with Geminiani and Lanza was interrupted by Primavera Concertistica di Lugano (from 1982), now known as the Lugano Festival. The orchestra has worked with capacity in the Royal Musketeers and then as a player of the death of the latter’s young daughter, a distinguished composers, including Pietro Mascagni, Igor Stravinsky, Paul Hindemith, Luciano Berio, Arthur the crumhorn and tromba marina in the Grande Ecurie. harpsichordist, leaving Philidor stranded there for a Honegger and Richard Strauss, and conductors including Ernest Ansermet, Leopold Stokowsky, Eugène Ormandy, From 1659 he was oboiste et fifre de chambre in the time, keeping himself as best he could by playing and Sergiu Celibidache, Hermann Scherchen, Wolfgang Sawallisch, and Riccardo Chailly. It has made a large number same royal establishment. His son André, father of teaching chess. This was followed by a visit to England, of recordings both for broadcasting and for commercial release. Concert activities include regular appearances at François-André, also served as a player of the crumhorn arranged through English officers of his acquaintance. home and in the Lucerne, Montreux, and Stresa Festivals, in addition to performances in Vienna, Amsterdam, and tromba marina in the Grande Ecurie, and from 1667 In 1747 he began to play at Slaughter’s coffee-house in Milan, Salzburg, Prague, Genoa, Turin and many other places. to 1677 was an oboist in the Royal Musketeers. He London, defeating some of England’s principal players. played in the first performance of Molière’s Le The following year he was back again in The bourgeois gentilhomme in 1670, and through Lully Netherlands, and while staying at Aachen wrote his became a member of the Académie royale de musique. L’analyse des échecs, later revised as L’analyse du jeu He served in other capacities in the Grande Ecurie and is des échecs. An English version was published in listed as playing the flute and bass crumhorn in the London in 1749, with a distinguished list of subscribers, Chapel Royal. In 1683 he was appointed garde de la including the Duke of Cumberland. Philidor was now bibliothèque du roi and played an important part in the established as the leading player of his time. establishment of the royal music library and the Urged by his friend Diderot, in 1754 Philidor collections of other members of the royal family and returned to France and to music, although a motet aristocracy. From 1690 to 1716 he served as a player of proved unacceptable to the court. This failure induced the crumhorn and the oboe in the Petits violons de la him, on the advice of Rameau, to turn his attention to chambre du roi. the theatre, winning his first significant success with the Born at Dreux in 1726, his elderly father’s first son comic opera Blaise le savetier (Blaise the Cobbler) in by his young second wife, François-André Danican was, 1759. This was the start of a career that for many years as a boy, a chorister in the Chapelle Royale at brought considerable success, while he was, at the same Versailles, where he was taught by Campra, the maître time, able to continue his parallel career as a chess de chapelle. It was here that his first motet was virtuoso, known not least for his skill in simultaneous performed in 1738. After his voice broke he left the blindfold games. It was chess that took him on choir, earning a living, now his father was dead, by occasions to London, where he found himself in 1792. teaching and serving as a copyist. Another work was Although he had initially been a supporter of the heard in 1743 at the Concerts spirituels established by Revolution, his name was included among those one of his half-brothers. During this period of his life proscribed as émigrés, while his wife, the singer

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Angélique Richer, and his children remained in Paris. exquisite address he evaded the question thus, ‘Sir, I do Coro della Radio Svizzera He died in London in 1795. not say that it may not be made a very good translation.’ The comic opera Le maréchal ferrant (The Here nothing whatever in favour of the performance was Coro della Radio Svizzera (The Swiss Radio Choir) of Lugano was founded by Edwin Löhrer in 1936 and over the Blacksmith) was first staged at the Foire St Laurent in affirmed, and yet the writer was not shocked.” In his years has won a worldwide reputation, particularly through its radio and disc recordings of Italian repertoire from 1761. Based on an episode in the Decameron, it won published introduction to Carmen sæculare Baretti the sixteenth to the eighteenth centuries. The choir appears in groupings that vary from madrigal ensembles to over considerable success. The overture is in the form of a defends his enterprise: ‘I see no reason why literature sixty singers coming from various nations. It is especially involved in performances of Renaissance and Baroque three-movement Italian Sinfonia. The present recording and pleasure should not contribute to each other, and Music. After over forty years under the leadership of Edwin Löhrer, ten years with Francis Travis and three with also includes overtures to Le sorcier (The Sorcerer) first why the odes of Horace should not find their way from André Ducret, the choir has been directed since 1993 by Diego Fasolis. With an international reputations and a mounted at the Comédie-Italienne in 1764 and an the school and college to gayer scenes’. He speculates on distinguished list of awards, the choir has an extensive repertoire. It has appeared over the years with leading guest immediate success, and to Tom Jones, based on the neglect of Horace, while composers have been happy conductors, both at home and abroad. Fielding’s novel and first staged by the same company to set other Latin texts, and continues ‘it appears from in 1765, gradually winning similar popularity. many passages in those odes that they were intended for Philidor’s Carmen sæculare, a setting of the poem music; nay, that they were sung in the very act of their Diego Fasolis by Horace of that name, together with other poems by existence. Horace has said repeatedly that he composed the same writer, was written at the instigation of the them at the sound of the barbiton and the cithara’. The chorus-master Diego Fasolis studied at the Zurich Conservatory and Musikhochschule with Erich Vollenwyder Italian scholar Giuseppe Baretti, a well known figure in The poem by Horace was written in 17 B.C. at the (organ), Jürg Wintschger (piano), Carol Smith (singing) and Klaus Knall (conducting), obtaining four diplomas London intellectual circles, who chose the Latin texts command of Augustus to be sung at the celebration of with various distinctions. He studied organ and improvisation in Paris with Gaston Litaize and early music and sought, as a composer, ‘a man of sense, a man of the Secular Games, supposed to be performed at performance with Michael Radulescu in Cremona. His international prizes include the Stresa First Prize, the First taste, a man of enthusiasm, fertile in ideas and intervals of a century, by 27 boys and 27 girls whose Prize and Scholarship of the Migros-Göhner Foundation, and the Hegar Prize, and he was a finalist in the Geneva expedients and able to temper alternately the solemnity parents were still living (thrice nine being particularly Competition. As an organist he has performed several times the complete works of Bach, Buxtehude, Mozart, of church-music with the brilliancy of the theatrical’. auspicious). In Sapphic stanzas the poem calls on the Mendelssohn, Franck and Liszt. He has written music for films and video, with works for organ and for soloists, This paragon he found in Philidor. In 1760 Baretti had various Roman gods, whose help is sought in choir and orchestra. He worked from 1986 as a musician and conductor with RTSI and from 1993 as permanent published an Italian dictionary in London and in 1769 propitiatory blessing of the state. Baretti drew partially conductor of the vocal and instrumental groups of Radio Televisione Svizzera, and from 1998 of I Barocchisti, a had been charged with murder after stabbing a man in on a re-ordering of the odes by the Abbé Sanadon, who Baroque orchestra with early instruments. He regularly conducts the Svizzera Italiana Orchestra and the best Swiss the Haymarket in self-defence. He was acquitted, with suggested that other verses seemed to have been part of orchestras, and has appeared as a guest conductor with leading international ensembles, including the Berlin RIAS Dr Johnson, Edmund Burke and David Garrick the original work. Thus Baretti’s text starts with four Chamber Choir, the Sonatori de la Gioiosa Marca, Concerto Palatino, Orchestra and Chorus of the Verona Arena, appearing in his defence as character witnesses, an lines from Horace’s Carmina III.1, followed by lines the Orchestra and Chorus of La Scala, Milan, and of the Rome and Bologna Operas. He has recorded over fifty CDs indication of the circles in which he moved. Boswell, in from Carmina IV.6.l.29-44. The second part sets the for Arts, Chandos, Claves, BBC, EMI, Amadeus, Divox, and Naxos, and is known as a conductor, teacher and March 1779, recounts an instance of remarkable first lines, 1-28, of the same poem. For the third part member of international juries. forbearance on the part of Dr Johnson: “My arrival Baretti turned to Carmina Book I.21 and it was only interrupted for a little while the important business … with the fourth part that he came to the text of what has upon its being resumed, I found that the subject under been generally known as the Carmen sæculare. The immediate consideration was a translation, yet in Abbé Sanadon had suggested the same lines from the manuscript, of the Carmen Seculare of Horace, which same poems, with the IV.6.1-4 as the Prologue, the first had this year been set to musick, and performed as a part as IV.6.1-28, the second as I.21, the third as the publick entertainment in London, for the joint benefit of Carmen sæculare, and the Epilogue as IV.6.29-44. monsieur Philidor and Signor Baretti. When Johnson had done reading, the author asked him bluntly, ‘If upon CD 1 the whole it was a good translation?’ Johnson, whose regard for truth was uncommonly strict, seemed to be Philidor’s work starts with an Overture 4 that includes puzzled for a moment, what answer to make; as he a ceremonial march, a suitable opening of the rite. certainly could not commend the performance: with 5 The Prologue has the tenor, as the priest presiding

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Veronica Cangemi over the ceremony, sing the placatory words Odi CD 2 profanum vulgus, the opening of a poem in Alcaic Born in Mendoza in Argentina, Veronica Cangemi began her musical training as a cellist. Turning later to singing, metre. 6 The tenor embarks on Part I of the work with 1 Part IV introduces the setting of what is generally she won the Argentina National Singing Competition, going on to study with Heather Harper in London. She won an invocation to Apollo 7 and, after a brief recitative, to known as the Carmen sæculare with its Sapphic stanzas. first prize in the Buenos Aires Mozart Competition and first prize at the Barcelona Viñas Competition, embarking those in the care of Diana, the goddess who with her In the first eight lines of the poem soprano and mezzo- on a career in the concert hall, opera house and recording studio. She won particular success at the Versailles bow kills the lynx and the deer, urging them to observe soprano with the chorus seek a propitious answer to Festival de Musique Baroque in Gluck’s Armide, at the Amsterdam Concertgebouw in Handel’s Resurrezione, at the Lesbian metre of Horace’s Sapphic stanzas. 8 He their prayers to the god and goddess, in accordance with the Salzburg Mozart Weeks and in leading theatres, including the Teatro Colón, the Montpellier Opéra, the Opéra tells the girls, when they marry, to remember their the instruction of the Sybilline Books of prophecy, sung de Lyon, and the San Francisco Opera. She has worked with leading conductors. participation in the festival. by chosen maidens and chaste boys. 2 The bass soloist, 9 The chorus starts Part II, offering a further with the chorus, sings to Apollo as god of the sun, invocation of Apollo, who punished Niobe’s boasted bringing day and night, that he may visit nothing greater Nora Gubisch superiority to his mother Leto by killing her seven sons than the city of Rome. 3 The soprano soloist continues and seven daughters and with his sister Diana killed the with next stanza, addressing Diana, goddess of the Born in 1971, the mezzo-soprano Nora Gubisch studied at the Paris Conservatoire National, completing her training giant Tityus and the Greek hero Achilles. 0 The bass moon, under her various titles, and seeking blessing on with Ruben Lifschitz and Vera Rozsa. She has appeared in leading rôles in theatres including the Toulouse Capitole, soloist describes something of the prowess of Achilles, mothers and on the traditional bonds of marriage, the the Opéra de Lille and the Opéra de Nancy. In a European tour she sang a leading rôle in Berlioz’s Roméo et Juliette son of Thetis and warrior against Troy, in an source of further generations. 4 The chorus, in a fugal under Sir Colin Davis, and took part in Debussy’s Martyre de Saint-Sébastien under Georges Prêtre. She made her accompanied recitative, ! continuing, in an aria with movement, sings of the games and three days of début at the Paris Opéra Bastille in Parsifal, conducted by James Conlon. the chorus, to tell how he was felled like an axed pine- celebration, that it may be kept each century. 5 The tree or a cypress uprooted by the east wind; he was not a bass soloist addresses the Fates, praying that good man to hide in the wooden horse that deceived the fortune, as once predicted, may continue. 6 Soprano Donald Litaker Trojans and the joyful dances of Priam’s court, but and mezzo-soprano with the chorus turn to the fruitful rather burned to death the children of Troy, born and Earth, who crowns the goddess Ceres with crops, A pupil of Daniel Ferro at the Juilliard School in New York, the tenor Donald Litaker was a soloist at the Juilliard unborn. The verse allows the chorus expressions of watered by the rain of Jupiter. 7 The four soloists join Opera of the Lincoln Center. He made his début in 1982 in Germany in Rossini’s Il barbiere di Siviglia and in 1983 horror. @ The soprano soloist goes on to recall the the chorus in a solemn hymn, calling on gentle Apollo to in Italy in Wagner’s Tannhäuser. Thereafter his career has taken him to success in leading theatres and as a soloist decision of the father of the gods, persuaded by Apollo listen to the prayers of the boys and on Diana, two- in prestigious festivals, including those of Salzburg, Tokyo, Jerusalem, Cologne, Frankfurt, Lisbon, Paris, Bonn, and by Venus, to allow the Trojan Aeneas to found a horned goddess of the moon, to hear the girls. 8 In an and Santiago. He appeared in Hindemith’s Cardillac in the Holland Festival at the Amsterdam Concertgebouw, in new city, Rome. # The chorus brings the second part to accompanied recitative the tenor recalls the legendary Berio’s Otto Romanze di Verdi in San Francisco, and in Stravinsky’s Oedipus Rex in Jerusalem. an end with praise of Apollo as a lyre-player, teacher of foundation of Rome by Trojan exiles, led by the hero the Muse Thalia, and now the defender of the Roman Aeneas, who made his way through the flames of Muse. burning Troy to found a greater city than he had left. Antonio Abete $ Part III urges the girls to sing in praise of Diana 9 In the following aria he asks the gods to teach virtue and the boys in praise of Apollo, and in honour of their to the young, to grant peace to the old, and wealth, Awarded a study grant in 1992 by the William Walton Foundation for Cimarosa’s Il matrimonio segreto, the bass mother, Latona (Leto), loved by Jove, their father, in a children and every honour to Rome. 0 The bass soloist, Antonio Abete in 1993 won the As.Li.Co. contest, making his début in Wolf-Ferrari’s I quattro rusteghi and duet for soprano and mezzo-soprano. % The tenor and with the chorus, adds a plea that the sacrifice of white Galuppi’s Il filosofo di campagna. His career has continued with appearances at the Donizetti in Bergamo, the chorus continue in praise of Diana, goddess of hunting, oxen by Rome’s founder Aeneas, son of Venus and Grande in Brescia, the Sociale of Como, the Cremona Ponchielli, the Tokyo Globe, and the Turin Teatro Regio. He an attribute that the music makes clear, and of Delos, Anchises may have its due reward, better than the has taken part in major festivals of early music in Utrecht, Bruges, Ambronnay, Anvers, Stuttgart and New York, where Apollo and Diana were born, the former known enemy at his feet, treated mercifully. ! The tenor, in with solo rôles in Peri’s Euridice, Monteverdi’s Orfeo and Il ballo delle ingrate, and Cesti’s Argia. He has recorded for his prowess with the bow and with the lyre. recitative, tells of the submission of the Medes, for Harmonia Mundi, EMI-Virgin, Astrée, and Naxos. ^ Soloists and chorus join in a final plaintive prayer Scythians and once proud Indians, @ and in the that the god avert plague from the people and Caesar following aria celebrates the return of Faith, Peace, and let it fall on the Persians and the Britons. Honour and Modesty and of ancient Virtue, together with Plenty. # There follows a mezzo-soprano aria

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addressing Phœbus Apollo, god of healing, praying for Diana, expresses final certainty that Jupiter and all the Christian Benda his propitious regard for the Palatine citadel, the state of gods will respond to these prayers, sentiments expressed Rome and Latium in a prosperous new lustrum. $ The in a fitting final fugal movement. The conductor Christian Benda is a descendant of the Czech Benda composer four soloists join in prayer to Diana that she may hear dynasty of the eighteenth century, the longest enduring family of musicians in the prayers of the fifteen magistrates and of the boys. Keith Anderson music history. He received his professional training within his family, where the % The chorus, trained to sing the praise of Phœbus and musical tradition had been maintained without interruption through three centuries. His engagements have taken him to music centres such as Paris, Vienna, London, Budapest, Prague, Warsaw, Bucharest, Hong Kong, Rio de Janeiro and Rome, and to the music festivals of Schwetzingen, Echternach, La Roque d’Anthéron and Paris, as well as to the Prague Spring, George Enescu Bucharest, Wratislavia Cantans, Campos do Jordão in Brazil, the Hong Kong Arts Festival, Klangbogen Vienna, Styriarte, Styrian Autumn and the Menuhin Festival Gstaad. After a long collaboration with the Prague Chamber Orchestra he became Prague Chamber Orchestra Principal Conductor of the Prague Sinfonia recently created by Václav Havel. With the Prague Sinfonia he has recorded the complete Schubert Overtures for The Prague Chamber Orchestra, for over fifty years one of the leading Czech music ensembles, was established in Naxos. He regularly conducts melodrama in Vienna where he performs with 1951 and enjoys wide international esteem. Their impressive performances have left a distinguished mark on the actors such as Andrea Jonasson, Erika Pluhar, Mercedes Echerer, Hertha Schell, international concert scene. They have been on sixteen extensive tours in the United States and Canada through Brigitte Quadlbauer, and Peter Uray. Columbia Artists New York, and on six tours to Latin America and Japan. Recently they toured South Korea, His career has brought collaboration with leading singers (Fleming, Hendricks, Studer, Estes) and soloists Malaysia and Singapore to great acclaim. Frequent guest appearances in Europe include festivals such as Salzburg, (Berman, Béroff, Fellner, Duchâble, Rudy, Ortiz, Giuranna, Tortelier, Pergamenschikow), and involvement with Bregenz, Berlin, Dresden, Schwetzingen, the Mozartfest in Würzburg, the Rheingau Festival, Konstanz, Athens, Czech, Polish, Slovenian, Serbian and Hungarian television stations, Télévision Suisse Romande, SF DRS Swiss Bergen, Besançon, Baalbek, Biarritz, San Sebastian, Santander, Luzern, Montreux, Ascona, Dubrovnik, Stresa and German Television, and TV Cultura (Brazil). He has also recorded for the BBC, Radio Luxemburg, Radio France, Cheltenham. Czech audiences can hear them in their concert series held in the large hall of the Rudolfinum (Dvoﬁák ORF, Hessischer Rundfunk and SWR. His commercial recordings are regularly broadcast all over the world. Hall) and as regular guests at the two major Czech music festivals, the Prague Spring and the Prague Autumn. They His numerous recordings include the complete works for piano and orchestra by Frank Martin with Paul have made many recordings for labels including EMI, Decca, Sony Classics, Naxos, Polydor, Nippon Columbia, Badura-Skoda (Bestenliste der Deutschen Schallplattenkritik), Haydn’s violin concertos with Jean-Jacques Denon, BMG, Telarc, Ariola, Eurodisc and Supraphon, and their extensive discography boasts a number of Kantorow, J.S. Bach’s Musical Offering, the Hamburg Symphonies by C.P.E. Bach, symphonic works by Malipiero prestigious prizes such as the Wiener Flötenuhr, the Grand Prix du Disque Académie Charles Cros twice, and, after and Casella, as well as recordings of his ancestors’ works, notably Jíri Antonín Benda’s symphonies and having sold one million records, the Golden Disc Award. The orchestra has cooperated with conductors such as melodramas with the Prague Chamber Orchestra, together with two volumes of violin and viola concertos by Václav Neumann, Gerd Albrecht, and Sir Charles Mackerras, with whom they have recorded Mozart’s symphonies. Frantisek and Jan Jíri Benda with Josef Suk as soloist. With Christian Benda, principal conductor, a descendant of the composers so much appreciated by J.S. Bach and Christian Benda appears also as composer and cellist performing double and triple concertos with Vladimir W.A. Mozart, they were chosen to perform for the recent “In Search of Mozart” film, which appeared during the Spivakov, Josef Suk, Pierre Amoyal, Paul Badura-Skoda and has recorded a number of complete works for the Mozart Year. After having published their first 10 CDs together, they have entered into a long-term recording cello, such as those of Schumann, Beethoven, Brahms, Stamitz, and MartinÛ, as well as Boccherini sonatas. project with him. Among the soloists with whom they have played are Paul Badura-Skoda, Arturo Benedetti- Michelangeli, Rudolf Buchbinder, Menahim Pressler, Christian Zacharias, Christophe Eschenbach, Friedrich Gulda, Zuzana Ruzicková, Heinz Holliger, Salvatore Accardo, Josef Suk, Maxim Vengerov, Uto Ughi, Barbara Hendricks, Heinrich Schiff, Boris Pergamenschikow, Antonio Meneses, Anthony Pay, Paul Meyer, Guy Touvron, Sergei Nakariakov, and The Beaux Arts Trio.

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François-André Danican Jean Claude Malgoire

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2 CDs 8.557593-94 12 NAXOS NAXOS François-André Danican Philidor pursued successful parallel careers as the composer of over 21 operas and as a chess virtuoso, known not least for his skill in simultaneous blindfold games. His oratorio, Carmen sæculare, is a setting of poems by Horace associated with the Roman centennial celebrations of 17 B.C. Written at the instigation of the Italian scholar Giuseppe Baretti, who chose the Latin texts and sought ‘a man able to temper alternately the solemnity of church-music with the brilliancy of the 8.557593-94 theatrical’, this majestic, and at times operatic work is coupled with overtures to three of Philidor’s popular and brilliant comic operas. DDD François-André Danican Playing Time PHILIDOR 1:49:58 PHILIDOR (1726-1795) PHILIDOR CD 1 54:42 CD 2 55:16 1-3 Simphonie No. 27 in G major Carmen Sæculare (contd.) (Ouverture: Le maréchal ferrant)* 12:44 1-% Pars Quarta 38:25 Carmen Sæculare (1788)† ^ Carmen Sæculare 4 Ouverture 4:31 Le sorcier: Carmen Sæculare 5 Prologus: Odi profanum vulgus 1:18 Ouverture in G major* 8:54 6-8 Prima Pars 5:18 9-# Seconda Pars 18:04 & Tom Jones: Naxos Rights International Ltd. $-^ Tertia Pars 12:47 Ouverture in B flat major* 7:58 www.naxos.com Made in Canada Booklet notes in English † † & Veronica Cangemi, Soprano • Nora Gubisch, Mezzo-soprano † † Donald Litaker, Tenor • Antonio Abete, Bass 2007 Coro della Radio Svizzera† Orchestra della Svizzera Italiana† • Jean-Claude Malgoire† Prague Chamber Orchestra* • Christian Benda* A full track listing can be found on page 2 of the booklet Sung texts can be accessed at www.naxos.com/libretti/557593.htm A co-production with Radio Della Svizzera Italiana *Recorded at Studio Domovina, Prague, Czech Republic, on 19th April, 2005 Producer: Jiri Gemrot • Engineer: Karel Soukenik 8.557593-94 †Recorded at the Auditorio della RSI, Lugano, Switzerland, on 21st and 22nd January, 1998 8.557593-94 Producers: Giuseppe Clericetti and Carlo Piccardi • Engineer: Ulrich Ruscher Booklet Notes: Keith Anderson Cover painting: A Dance to the Music of Time by Nicolas Poussin (1594-1665) (© Wallace Collection, London / The Bridgeman Art Library)