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L'orleo Blcserensemble Cpo 777 377 - 2 Josef Myslivecek (1737-17811 Complete Wind Octets & Quintets

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L'Orleo Blcserensemble cpo 777 377 - 2 Josef Myslivecek (1737-17811 Complete Wind Octets & Quintets Ottetto I Eflot mojor (EvaM 8:Eb 1) 15'06 ITl Allegro moestoso 4'52 IT] Larghetto un poco sostenuto 4'01 IT] Tempo di Menuetto 6'13 Quintetto III Eflat major (EvaM 5:Eb3) 5'38 8] Allegro 1'53 IT] Minuetto 2'47 0 Presto 0'58 Quintetto IV 8 Major (EvaM 5:Bb3) 6'00 0 AllegreHo 2'06 IT] Minuetto 3'03 0 Presto 0'51 Carin van Heerden Quintetto V F Major (EvaM 5:F3) 3'49 Quintetto VI C Major (EvaM 5:C3) 4'57 ~ Lcrqhettc 2'09 § Lcrqhefto 2'15 CiTI Allegra 1'04 § Minuetto 2'05 @] Presto 0'36 ~ Presto 0'37 Ottetto II E flat major (EvaM 8:Eb2) 9'58 Ottetto III B flat major (EvaM 8:Bb 1) 8'28 @] Allegro spiritoso 3'46 ~ Allegro 4'26 0] largo, sotto voce 3'36 ~ larghetto con un poco di moto 2'47 @] Rondo. Alleqretto 2'36 ~ Presto 1'15 Quintetto I D Major (EvaM 5:02) 6'40 T,T,:66'00 ~ Allegro 2'25 [0 Minuetto 2'54 L'Orfeo Blaserensemble ~ Rondeau. Allegretto 1'21 Carin van Heerden Quintetto II G Major (EvaM 5:G2) 5'04 @] larghetto sostenuto a mezzo 2'21 ~ Allegro 1'30 § Presto 1'13 - Josef Myslivecek (1737-1781) Von einer lcnqeren Reise zurOckgekehrt, die ihn Samtliche Blaseroktette und -quintette 1772 in seine Heimat, nach Wien und moqlicherweise I. Munchen fuhrt, strebt der Bahme dem Hchepunkt sei- L'Orfeo Blaserensemble (on period instruments) Als Sohn des Vorstehers der Prager Mullergilde auf nes ErFolges zu: Antigone und La C/emenzo di rito wer- der Moldauinsel Kampa geboren, erhalt Josef den am gleichen Tog (26. Dezember 1773) in Venedig Myslivecek, zusammen mit seinem Zwillingsbruder Joa- bzw. Turin gegeben. In Neapel feiert man mit Romola Carin van Heerden (Direction & Oboe 1), Andreas Helm (Oboe 2) chim, eine musikalische Ausbildung am Jesuitenkolleg ed Ersilia den 19. Geburtstag der Konigin. Am 4. des Prager Klementinums, beginnt ein Studium der Phi- November 1773 leitet Myslivecek da selbst Glucks Ernst Schlader (Clarinet 1*), Markus Springer (Clarinet 2*) losophie, losst sich zum Mullermeister ausbilden und Orleo ed Euridice und im darauf folgenden Sommer wendet sich schliefllich doch der Musik zu. erteilt er dem jungen Georg Joseph (gen. Abbe) Vogler Christian Binde (Horn 1), Albert Heitzinger (Horn 2) Unter Anleitung von Franz Hobermann und Joseph Kompositionsunterricht. Ferdinand Seger entstehen Anfang der 1760er Jahre In einer Ankundigung zu Isacco fjgura del redento- Gyorgyi Farkas (Bassoon 1), Nikolaus M. Broda (Bassoon 2*) erste Kompositionen, den lebensunterhalt scheint er re, des. initiiert von Earl Cowper, einem Mazen des sich hingegen durch des Spiel auf der Violine zu verdie- Bohmen, am 10. Marz 1776 im Casino de' Nobili zur Maria Vahervuo (Double Bess"] nen. Graf Vinzenz von Waldstein Iordert den jungen Urauffijhrung kommt, weif3 die GazeHa Toscano von Musiker und schickt ihn im November 1763 noch Ven •. "alcune indisposizioni di salute" seitens des Komponi- *Track 1-3, 13-15,25-27 dig, wo er bei Giovanni Battista Pescetti des Schreiben sten zu berichten. In Munchen, wo ein Jahr spoter das, von Rezitativen erlernen 5011. mittlerweile in Abramo ed Isacco umbenannte Oratori- Nach seinem dramotischen Erstlingswerk Semiromi- urn, sowie eine zweite Fassung des zuvor for Neopel de, das 1765 in Bergamo uraufgefuhrt wird, gelingt ihm vertanten Ezio aufgefuhrt werden, muss sich Myslivecek mit 1/Bellerofonle (20. Januar 1767), einer Auftragskom- der Behandlung einer fortgeschrittenen Syphilis unter- position fur das kanigliche Teatro di S. Carlo in Neapel ziehen [verql. W. A. Mozmts Brief an seinen Vater vcm der Durchbruch. Als Myslivecek im Marz 1770 das 11. Okt. 1777). erste Mol auf leopold und Wolfgang Amadeus Mozart In der Folgezeit wird leopold Mozart yon trifft, steht er im Briefkontakt mit Padre Martini, einer Myslivecek - er hot es wohl auf die vakante Stelle des Instcnz in Fragen der Musik, und fUhrt den Beinamen "il Kapellmeisters zu Salzburg obgesehen - mit der Aufga- Boerne" (die Bezeichnungen "it divino Boerne" und be betraut, Kompositionen an den Erzbischof zu verkau- "Venatorint, die die itolienische Obersetzung seines fen. Als es ihm im Gegenzug nicht gelingen will, dem Nomens darstellt, sind praktisch kaum noch zu beseiti- Sohn einen fest versprochenen Opernauftrag fur Nea- gende Literoturfiktionen). pel zu verschaffen - moqlicherweise uberschotzt Mysli- Am 27. Oktober schreibt leopold Mozart: "Er ist ein vecek seinen Einfluss auf die dortige Stagione - kundigt Ehrenmann und wir hoben vollkommne freundschaft mit leopold die gegenseitige Freundschoft. einonder gemacht." Wenige Monote nach dem junqen Trotz seinem unverdndert schlechten Gesundheits- Salzburger stellt Myslivecek Antrag auf Mitgliedschalt zustand schrelbt Myslivecek, infolge seiner Ruckkehr in der Accademia Filarmonica zu Bologna, welche ihm nach Italien, weitere sieben Buhnenwerke. Doss aber, om 15. Morz 1771 zuerkannt wird. beginnend mit Armida, die cls erste Oper der zweiten 7 Spiel zeit der Mailander Scola gegeben wird, die Erfol- z.B. im eroffnenden Allegro des Ottetto III in Rhyth- auf.2 Die Hochzeit, die, im Gegensatz zur Verlobung, Kcntokt zwischen Myslivecek und dessen landsmann ge beim Publikum ousbleiben, mag einerseits an den mus und instrumentaler Diktion an ein Opernfinole er!n- im privaten Rahmen stattfindet, folgt am 2. Juni 1775. Josef Fiala gekommen sein, welcher - so berichtet gegen ihn geriehteten Intrigen, andererseits on [ener nern - nur ohne Worte: Fur Florentinisehe Verhaltnisse war Earl Cowper Mozart am 3. Oktober 1777 - ein in seiner Reisevnter- auBerliehen Entstelhheit liegen, die Myslivecek in die "Es scheint als hobe sich der Komponist yon imagi- uberous wchlhcbend, was ihm nieht nur den Erwerb der kunft5 und ihm zu Ehren auftretendes Bldserensemble gesellsehaFtliehe Isolation treibt. ndren Texten inspirieren lassen, deren Inholte loufend zwischen Florenz und Fiesole gelegenen Villa Palmieri ,abgerichtet' habe. Somit lieBe sich denn auch erklc- Naehdem er drei Tage zuvor den aehten Kredit bel neue, dramatische Handlungsfaden entwickeln. [... ] deHa de' Tre Visi, einer wertvollen Gemaldesammlung, ren, wie die OkteHe spcter ihren Weg in die Notenbe- der Bonk Monte delia Pleto aufgenommen haHe, stirbt Gesangliche Motive wechseln einander ab mit kolcro- sondern auch ein groBzugiges Mazenatentum im stonde der Furstlich-Furstenbergischen Hofkapelle zu Myslivecek im Alter Yon 43 Jahren in Rom. Ein vermo- turmoBig angelegten Virtuasen-Episoden der Blasinstru- Bereich der Bildenden Kunste und der Musik ermoghch- Donoueschingen bzw. deren unter der leitung yon gender engliseher Italienreisender, John Hugh Smith mente, streuen hier und do eine Zosur fur denkbare te: Cowper wird zurn Direktor der Accademia degli Franz Joseph Rosinack (ca. 1763- 1823) stehender Barry aus Belmont Hall, Cheshire, der Myslivecek in Solokadenzen ein, verleihen den Motivwiederholungen Armonici di Firenze und spoter zu deren Ehrenmitglied Hormoniemusik fanden: Fiola pfiegte, genauso wie Florenz kennen gelernt haben durfta, lcsst ihn in der Klr- durch eine verdnderte Instrumentierung stets neue qewdhlt. Musiker yon Rang und Nomen, wie Giovanni Myslivecek, einen engen Briefkontakt mit leopold ehe S. lorenzo in lucina beisetzen und eine Marmorto- Klangfarben: Blcserportien symbolisieren ogierende Manzuoli, Michael Kelly, Anton Raaff und Stephen Sto- Mozart, der ihm am Hof des Salzburger Fursterzbl- fel anbringen. Buhnenfiguren." (Gerhard Patzigl race machen ihm ihre Aufwartung und die Opernauf- schofs eine Stelle als Violoncellist vermiHelte. {Foigende fuhrungen, Konzerle und GeselischaFten, die er seit Stationen im Leben des Josef Fiola waren Wien und St. II. III. 1764 in regelmaBigen Abstonden veranstaltet, zohlen Petersburg, bevor ihn sein Weg 1792 an den Hof van Myslivecek genort zu einer Reihe junger Komponi- Mit Ende des Spanischen Erbfolgekrieges (1701- zu den Hohepunkten des gesellschaftlichen lebens, das Donaueschingen fuhrte. Dart sollte Fiala die Stelle sten und Musiker, die in der zweiten Halfte des 18. Jahr- 1714) gehen die lombardischen Herzoqtiimer Mailand sich seiner Zeit in Florenz abspielt.3 Von besonderer neben Rosinack ols zweiter Oboist einnehmen.1 hunderts ihre bohmisehe bzw. mdhrische Heimat verlie- und Mantua on das Haus Habsburg, sowie im Jahre Bedeutung ist dabei jenes Blaserensemble, das unter Eine der vielen Auffalligkeiten in der Komposition Ben, um in den Musikzentren Wien, Berlin, london, 1737 das GroBherzogtum Toscana an dessen Nebenli- der leitung des vermutlich Oboe blasenden Johann der Myslivecek'schen Bloseroktette ist - neben ihrem Paris, St. Petersburg und on zahlreichen Furstenhofen nie Habsburg-lothringen Uber. Die neuen Herrscher Anton Schmid steht und im Marz 1773 in die Dienste ungewohnlichen Aufbau in den Kopfsotzen, der sich ihrer Profession nochqehen zu konnen. beeinflussen das sozio Ie, wirlschaftliche, aber auch das des Earls IriH. Zusammen mil den KlarineHislen Georg unmoqlich in das Schemo des "klossischen- Sonatensal- In Anbetmcht, doss sich das musikalisehe Prag sei- kulturelle leben in der Region nachhaltig. So verfolgt Joseph Korbmann und Joseph Aloys Senft, den Horni- zes pressen losst - der unglaublich hohe technische ner Jugendjahre in beinahe Fundamentalistiseher Art man fortan mit groBem Interesse, welche neuen musika- sten Johann Simon Dill und Bernhard Freund sowie dem Anspruch an das damals zur Verfugung stehende Instru- und Weise dem Vorbild Italiens verschrieben hatte, mag lischen Entwicklungen sich in und um Wien anbahnen. Fagottist Augustin Pursch IriH Schmid aber nlcht nur in mentarium.
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  • Ian Page and the Mozartists Release Second Volume of Major Recording Series Exploring Sturm Und Drang

    Ian Page and the Mozartists Release Second Volume of Major Recording Series Exploring Sturm Und Drang

    Ian Page and The Mozartists release second volume of major recording series exploring Sturm und Drang Sturm und Drang Volume 2 Release date: 9 October 2020 Ian Page and The Mozartists continue their projected seven-volume recording series exploring Sturm und Drang, the 18th-century movement that swept through music and other art forms between the early 1760s and the early 1780s. Translated as “Storm and Stress”, this dramatic and ground-breaking style sought to evoke extremes of emotion and came to be associated with art, literature and music that aimed to shock the audience. Ian Page’s critically-acclaimed recordings, including an ongoing series of Mozart’s operas, have largely featured operatic and vocal music. Now, reflecting the expansion of repertoire under his company’s new name, The Mozartists, this ambitious Sturm und Drang project is dominated by orchestral repertoire. It incorporates iconic opera, ballet and symphonies by Mozart, Gluck and, above all, Joseph Haydn, as well as including largely forgotten or neglected works by less familiar names such as Jommelli, Beck and Vanhal. Volume 2 of the series features works composed between 1765 and 1770, beginning with Haydn’s dramatic Symphony No. 39 in G minor, one of the most vivid and influential works of the Sturm und Drang movement, and concluding with an uncharacteristically turbulent symphony in the same key by Johann Christian Bach (the so-called ‘London’ Bach). In between comes a fiery D minor symphony by Vanhal and a selection of arias by Gluck, Haydn and Mysliceček sung by the young Swedish mezzo- soprano Ida Ränzlöv.
  • Carla Caramujo Biography

    Carla Caramujo Biography

    Carla Caramujo Biography Portuguese soprano Carla Caramujo is a graduate of the Guildhall School of Music and Drama and Royal Conservatoire of Scotland, where she completed her Bachelors, Masters in Performance and Opera Course with distinction. She is also a Samling Artist. Carla is a winner of the Luísa Todi National Singing Competition (Portugal), the Musikförderpreis der Hans-Sachs- Loge (Germany), Chevron Excellence, Ye Cronies and Dewar Awards (United Kingdom). She made her debut in the role of Gilda in Rigoletto at the Teatro Nacional de S. Carlos (Lisbon) where she subsequently performed as Contessa Folleville (Il Viaggio a Reims), Clorinda (La Cenerentola), D. Anna (Don Giovanni), Adele (Die Fledermaus), Lisette (La Rondine) and Princesse (L’Enfant et les Sortilèges). Other roles and concert repertoire include Violetta (La Traviata), Adina (L’elisir d’amore), Armida (Rinaldo), Königin (Die Zauberflöte) and Madame Herz (Der Schauspieldirektor), Fiordiligi (Cosi fan tutte) Valetto (L’Incoronazione di Poppea); Nena (Lo frate ‘nnamorato, Pergolesi), la Jeunesse (Le Carnaval et la Folie, Destouches), Vespina (La Spinalba, Francisco António de Almeida), Fenicia (Armida, Myslivecek), Fata Azzurra (La bella dormente nel bosco, Respighi), 9th Symphony (Beethoven), C minor Mass (Mozart), Carmina Burana, Die Schöpfung (Haydn), Messiah (Händel), Passion According to St. John/St. Matthew (Bach) and Requiem (Brahms) and Lieder der Ophelie (R. Strauss), in the United Kingdom (Barbican, New Sage Gateshead Music Centre, Edinburgh Festival Theatre), Uruguay (SODRE), Spain (Festival Are-more), Colombia (Teatro Mayor), Mexico, CARLA CARAMUJO SOPRANO 2020 All rights reserved Argentina (Usina del Arte), Portugal (Gulbenkian, Centro Cultural de Belém - CCB Lisbon) and several international festivals.
  • 03-10-2018 Semiramide Mat.Indd

    03-10-2018 Semiramide Mat.Indd

    GIOACHINO ROSSINI semiramide conductor Opera in two acts Maurizio Benini Libretto by Gaetano Rossi, based on production John Copley the play Sémiramis by Voltaire set designer Saturday, March 10, 2018 John Conklin 1:00–4:40 PM costume designer Michael Stennett lighting designer John Froelich revival stage director The production of Semiramide was Roy Rallo made possible by a generous gift from the Lila Acheson and DeWitt Wallace Fund for Lincoln Center, established by the founders of The Reader’s Digest Association, Inc. The revival of this production is made possible by a gift from Ekkehart Hassels-Weiler general manager Peter Gelb music director designate Yannick Nézet-Séguin 2017–18 SEASON The 34th Metropolitan Opera performance of GIOACHINO ROSSINI’S This performance semiramide is being broadcast live over The Toll Brothers– Metropolitan Opera conductor International Radio Maurizio Benini Network, sponsored in order of vocal appearance by Toll Brothers, America’s luxury oroe, high priest of the magi ® homebuilder , with Ryan Speedo Green* generous long-term support from idreno, an indian prince The Annenberg Javier Camarena Foundation, The Neubauer Family assur, a prince Foundation, the Ildar Abdrazakov Vincent A. Stabile Endowment for semir amide, queen of babylon Broadcast Media, Angela Meade and contributions from listeners arsace, commander of the assyrian army worldwide. Elizabeth DeShong There is no Toll Brothers– a zema, a princess Metropolitan Sarah Shafer Opera Quiz in List Hall today. mitr ane, captain of the guard Kang Wang** This performance is also being broadcast ghost of king nino live on Metropolitan Jeremy Galyon Opera Radio on SiriusXM channel 75.