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They were heavy in style, and prosaic; yet their matter made them widely popular. Cademosto of Lodi, Monsignor Brevio of Venice, Ascanio de' Mori of Mantua, Luigi da Porto of Vicenza, and, last not least, the illustrious Matteo Bandello, proved how rich in this species of literature were the northern provinces.

The Lombards displayed a special faculty for tales in which romance predominated. Venice, notorious for her pleasure- marts of luxury, became the emporium of publications which supplied her courtesans and rufilers with appropriate mental food. The Tuscans showed more comic humour, and, of course, a purer style.

But in point of matter, intellectual and. Following the precedent of Boccaccio, it was usual for the Novellieri to invent a framework for their stories, making it appear that a polite society of men and women called in Italy a lieta brigata had by some chance accident been thrown upon their own resources in circumstances of piquant novelty. One of the party suggests that they should spend their time in telling tales, and a captain is chosen who sets the theme and determines the order of the story-tellers.

These intro- ductions are not unfrequently the most carefully written portion of the collection, and abound in charming sketches of Italian life. Thus II Lasca at the opening of ' Le Cene ' feigns that a company of young men and women went in winter-time to visit at a friend's house in Florence.

It was snowing, and the youths amused themselves by a snow-ball match in the inner courtyard of the palace. The ladies watched them from a loggia, till it came into their heads to join the game.

Snow was brought them from the roofs, and they began to pelt the young men from their balcony. A party of gentlemen have left the city to live in huts of wood and straw upon the islands, with the intention of fowling and fishing.

The weather proves too bad for sport, and they while away the hours of idleness with anecdotes. Bandello follows a different method, which had been suggested by Masuccio. He dedicates his Novelle to the distinguished people of his acquaintance, in prefaces not devoid of flattery, but highly. Gemi- gnano's sonnet on the month of January. Princes, poets, warriors, men of state, illustrious women, and humanists pass before us in these dedications, proving that polite society in Italy, the society of the learned and the noble, was a republic of wit and culture.

Alessandro Bentivoglio and Ippolita Sforza, the leaders of fashion and Bandello's special patrons, take the first rank. Either directly addressed in prefaces or mentioned with familiar allusion in the course of the narratives, these historic names remind us that the author lived at the centre of civilisation, and that his Novelle were intended for the entertainment of the great world.

What Castiglione presents abstractedly and in theory as a critique on noble society, is set before us by Bandello in the concrete form of every-day occurrence.

Nor does the author forget that he is speaking to this company. The whole work of art breathes the air of good manners and is tuned to a certain pitch-note of fashionable tone.

We may be astounded that ladies and gentlemen of the highest birth and breeding could tolerate the licenses of language and sugges- tion furnished by Bandello for their delectation.

We may draw conclusions as to their corruption and essential coarse- ness in the midst of refined living and external gallantries. Maurizio at Milan. See my Sketches and Studies in Italy. Matteo Bandello was a member of the petty Lombard nobility, born at Castelnuovo in Tortona. His uncle was General of the Dominicans, and this circumstance deter- mined Matteo's career. After spending some years of his youth at Rome, he entered the order of the Predicatori in the Convent delle Grazie at Milan.

A considerable portion of Baudello's manhood was passed at Mantua, where he became the tutor and the platonic lover of Lucrezia Gonzaga. Before the date , when French and Spaniards contested the Duchy of Milan, he had already formed a collection of Novelle in manuscript — the fruits of all that he had heard and seen upon his frequent travels. These were dispersed when the Spaniards entered Milan and pillaged the house of the Bandello family. The new bishop allowed his colleague of Grasse to administer the see, drawing enough of its emoluments for his private needs, and attending till his death, about the year , to study and composition.

James, and the gossip of the French Court in Brantome's Dailies Galantes, remind us that this blending of grossness and luxury was not peculiar to Italy. Bandello's life was itself a novella. The scion of a noble house, early dedicated to the order of S. Dominic, but with the General of that order for his uncle, he enjoyed rare opportunities of studying men and manners in all parts of Europe.

His good abilities and active mind enabled him to master the essentials of scholarship, and introduced him as tutor to one of the most fascinating learned women of his age.

These privileges he put to use by carrying on a courtly flirtation with his interesting pupil, at the same time that he penned his celebrated novels. The disasters of the Milanese Duchy deprived him of his literary collections and probably injured his fortune.

But he found advance- ment on a foreign soil, and died a bishop at the moment when Europe was ringing with the scandals of his too licentious tales. Even now it moves astonishment to think that a monk should have written, and a bishop should have published, the faceticB with which Bandello's books are filled.

The two latter have a touch of Spanish extravagance, but with- out the glowing Spanish passion. In quoting Bandello, I shall refer to Part and Novel by different numerals. Eeferences are made to the Milanese edition, Novellieri Italiani, B.

The vice that formerly stirred indignation, is now the subject of mirth. There is no satire, because there is no moral sense. Bandello's revela- tions of clerical and monastic immorality supplied the enemies of Rome with a full brief; but it is obvious that Bandello and his audience regarded the monstrous tale of profligacy with amusement. His frankness upon the very eve of the Council of Trent has something at once cynical and sinister.

It makes us feel that the hypocrisy engendered by the German Reformation, the si non caste tamen caute of the new ecclesiastical regime, was the last resort of a system so debased that vital regeneration had become impossible.

This does not necessarily mean that the Italian Church had no worthy ministers in the sixteenth century. But when her dealing with the people ended in a humorous acceptance of such sin, we perceive that the rottenness had reached the core. To present the details of Bandello's clerical stories would be impossible in pages meant for modern readers.

It is enough to say that he spares no rank or order of the Roman priesthood. The prelate, the parish curate, the abbot and the prioress, the monk and nun, are made the subject of impartial ribaldry. Franciscan friar who domesticated himself as chaplain in the castle of a noble Norman family. The same judgment may be passed upon a large portion of the Novelle which deal with secular characters. They are indecent anecdotes, and do not illustrate any specific quality in the author or in the temper of his times.

As Bandello lacked the indignation of Masuccio, so he failed to touch Masuccio's tragic chord. When he attempted it, as in the ghastly story of Violante, who revenged herself upon a faithless lover by tearing him to pieces with pincers, or in the disgusting novel of Pandora, or again in the tale of the husband who forced his wife to strangle her lover with her own hands, he only rouses physical repulsion.

It was not in this region of tragic terror that Bandello'a genius moved with freedom. In describing the luxury of Milan or the manners of the Venetian courtesans, in bringing.

But I may call attention to i. It was only when it fell into the hands of Webster, that his dull narrative of the Duchess of Amalfi revealed its capacities for artistic treatment. It may be asked, if this is all, why anyone should take, the pains to read through the two hundred and fourteen Novelle of Bandello, and, having done so, should think it worth his while to write about them?

Ought they not rather to be left among the things the world would willingly let die? The answer to this question is twofold. In the first place they fairly represent the whole class of novels which were produced so abundantly in Italy that the historian of Renais-.

See i. It seems that then, as now, Milan was famous for her equipages and horses. The tale of the two fops who always dressed in white iii. For the Venetian and Koman demi-monde, iii. These passages have the value of authentic studies from contemporary life, and are told about persons whom the author knew at least by name.

Secondly, Bandello at his best is a great artist in the story-teller's craft. The conditions under which he displayed his powers to true advantage, require some definition. Once only did he successfully handle a really comic situation.

That was in his tale of the monkey who dressed himself up in a dead woman's clothes, and frightened her family when they returned from the funeral, by mimicking her movements. But in the intermediate region between tragedy and comedy, where situations of romantic beauty offer them- selves to the sympathetic imagination — in that realm of pathos and adventure, where pictures of eventful living can be painted, and the conflicts of tender emotion have to be described, Bandello proved himself a master.

It would make the orthodox Italian critics shudder in their graves to hear that he had been compared to Ariosto. Yet a foreigner, gifted with obtuser sensibility to the refinements of Italian diction, may venture the remark that Bandello was a kind of prose Ariosto — in the same sense as Heywood seemed a prose Shakspere to Charles Lamb.

Judged by the high standard of Athenian or Elizabethan art, neither Ariosto nor Bandello was a first-rate dramatist. But both commanded the material of which romantic tragedies can be constructed. Bandello's best Novelle abound in the situations which delighted our playwrights of the Jacobean age — in the thrilling incidents and scenes of high-wrought passion we are wont to deem the special property of Fletcher. He puts them before us with a force of realistic colouring, and develops them with a warmth of feeling, that leave no doubt of his artistic skill.

Composi- tion and style may fail him, but his sympathy with the poetic situation, and his power to express it are unmistakable. In support of this opinion I might point to his vigorous but repulsive presentation of Parisina's legend, where the gradual.

Before the consummation of this second marriage, Elena fell through misery into a death-like trance, and was taken by her kindred to be buried at Castello on the shores of the lagoons. At the moment when the funeral procession was crossing the waters by the light of many torches, the ship of Gerardo cast anchor in the port of Venice, and the young man heard that his wife was dead. Attended by a single friend, he went under cover of the night to where she had been laid in a sarcophagus outside the church.

This he opened, and, frantic between grief and joy, bore the corpse of his beloved to his boat. He kissed her lips, and laid himself beside her lifeless body, wildly refusing to listen to his friend's expostulations. Then while the gondola rocked on the waves of the lagoons and the sea-wind freshened before daybreak, Elena awoke.

It is needless to add that the story ends in happiness. This brief sketch conveys no notion of the picturesque beauty of the incidents described, or of the intimate acquaintance with Venetian customs displayed in the Novella. To one who knows Venice, it is full of delicate suggestions, and the reader illuminates the margin with illustrations in the manner of Carpaccio.

There is a point of Komeo and Juliet in the tale of Gerardo and Elena. Bandello has anticipated Shakspere even in Juliet's soliloquy before she drinks the potion, when the dreadful thought occurs to her that she may wake too soon, and find herself alone among the dry bones of her ancestors, with Tybalt festering in his shroud. But the prose version exhibits one motive which Shakspere missed.

When Komeo opens the tomb, he rouses Juliet from her slumber, and in his joy forgets that he has drunk the poison. He dies, and Juliet stabs herself with his sword. Had Shakspere chosen to develop this catastrophe, instead of making Romeo perish before the waking of Juliet, he might have wrought the most pathetically tragic scene in poetry. Reading the climax in Bandello, where it is overpoweringly affecting, we feel what we have lost. Another Novella which provokes comparison with our dramatic literature — with the ' Twelfth Night ' or with Fletcher's ' Philaster ' — is the tale of Nicuola,' She and her brother Paolo were twins, so like in height and form and feature that it was difficult even for friends to know them apart.

They were living with their father at Rome, when the siege of dispersed the family. Paolo was taken prisoner by Spaniards, and Nicuola went to dwell at Jesi.

The Novella. This tale was fashionable in Italy. It forms the basis of that rare comedy, Gli Ingannati, performed by the Academy degli Intronati at Siena, and printed in In spite of these complications the action is lucid, and the comedy is one of the best we possess. There is an excellent humorous scene of two innkeepers touting against each other for travellers Act iii. That Shakspere knew the Novella or the comedy before he wrote his Twelfth Night is more than probable.

Then her brother, Paolo, retm-ned, attired like her in white, and recognitions were made, and both couples, Paolo and the lady, Nicuola and the nobleman, were happily married in the end. What is at first a mere desire in Edward, passes through graduated moods of confident, despairing, soul-absorbing love. The ordinary artifices of a seducer are replaced by the powerful compulsion of a monarch, who strives to corrupt the daughter by working on her father's ambition and her mother's weakness.

Thwarted by the girl's constancy at every turn, he sinks into love-melancholy, then rouses himself with the furious resolve to attempt force, and lastly, yielding to his nobler nature, ofliers his crown to Alice.

These several moments in the King's passion are exhibited with a descriptive wealth and exuberance of resource that. Historians will not look for accuracy in what is an Italian love-tale founded on an English legend. The contrasts between the girl's invincible honour and her lover's ungovernable impulse, between her firmness and her mother's feebler nature, and again between the sovereign's overbearing wilful- ness and the Earl's stubborn but respectful resistance, suggest a series of high-wrought situations, which only need to be versified and divided into acts to make a drama.

Fletcher himself might have proudly owned the scene in which Edward discovers his Ipve to the Earl, begs him to plead with his daughter, and has to hear his reproaches, so courteously and yet unflinchingly expressed. What follows is equally dramatic. Her mother, moved to feebler issues by the same pressure, attempts to break her daughter's resolve, and at last extorts a reluctant consent by her own physical agony.

Finally, the girl, when left alone with her royal lover, demands from him or death or honour, and wins her cause by the nobility of her carriage in this hour of trial. The whole Novella in its choice of motives, method of treatment, and ethical tone, challenges comparison with Beaumont and Fletcher's serious plays. Bandello, like Fletcher, strikes out images at every turn, enlarges in rhetorical digressions, and pours forth floods of voluble eloquence.

Then the discourses upon love and temperament p. Nor is the type of honour in Alice and the Earl exaggerated. They act and speak as subjects, conscious of their duty to the King, but resolved to preserve their self-respect at any cost, should speak and act. The compliance of the Countess, who is willing to sacrifice her daughter's honour under the impulse of bUnd terror, cannot be called unnatural.

The consequent struggle between a mother's frailty and a daughter's firmness, though painful enough, is not so disagreeably presented as in Tourneur's ' Eevenger's Tragedy. As it is, we English may perhaps take credit to ourselves for the superior inspiration of the legend he here handled.

The moral fibre of the tale is rather English than Italian. Bandello was not unaware that his Novelle lay under censure for licentiousness. His apology deserves to be con- sidered, since it places the Italian conscience on this point in a clear light. In the preface to the eleventh Novella of the second part, he attacks the question boldly. In this I am with tliem, if they rightly apprehend honesty. So also of many things I have narrated. No sane person will fail to blame incest, theft, homicide, and.

Compare the descriptive passages on pp. Compare the peroration of his Preface to Ihe third part vol. But I do not admit that I deserve to be therefore blamed. The world ought to blame and stigmatise those who commit such crimes, and not the man who writes about them. In the twenty-fourth novel of the same part he returns to the charge.

Ignorance is never good, and it is better to be instructed in the wickedness of the world than to fall into error through defect of knowledge. That he should plume himself upon the decorum of his language, is simply comic. Such simulation of a conscience was all that remained at an epoch when the sense of shame had been extinguished, while acquiescence in the doctrines of a corrupt Church had not ceased to be fashionable.

Bandello is more sensitive to strictures on his literary style, and makes a better defence. He cared to be read by all classes of the people rather than to be praised by pedants for the purity of his language. Therefore he snapped his fingers at Speron Sperone and Trifone, the so-called Socrates of his century.

It is true that he was not a master of the best Italian prose, and that his Novelle do not rank among the Testi di Lingua. He is at one and the same time prolix and involved, ornate and vulgar, coarse in phraseology and ambitious in rhetoric. He uses metaphors borrowed from the slang of the fashionable world to express gross thoughts or actions. He indulges in pompous digressions and overloads his narrative with illustrations.

But, in spite of these defects, he is rarely dull. His energy and copiousness of diction never fail him. His style is penetrated with the passion of the subject, and he delights our imagination with wonderfully varied pictures drawn from life.

It is probable that foreigners can render better justice to the merits of Bandello as a writer, than Italians, who are trained to criticise language from a highly refined and technical point of view.

We recognise his vividness and force without being disgusted by his Lombardisms or the coarseness. Yet even some Itahan critics of no mean standing have been found to say a good word for his style.

Among these may be reckoned the judicious MazzuchelU. The author of ' Le Cene ' presents a marked contrast to Bandello. Antonfrancesco Grazzini belonged to an ancient and honourable family of Staggia in Valdelsa. Born at Florence in 1 , he was matriculated into the Speziali, and followed the profession of a druggist. His literary career was closely connected with the academies of Gli Umidi and La Crusca.

Besides Novelle, he wrote comedies and poems, and made the renowned collection of Canti Carnascialeschi. He died in and was buried in S. Pier Maggiore. Thus while Bandello might claim to be a citizen of the great world, reared in the ecclesiastical purple and conversant with the noblest society of Northern Italy, II Lasca began life and ended it aa a Florentine burgher. For aught we know, he may not have travelled beyond the bounds of the republic.

His stories are written in the raciest Tuscan idiom, and are redolent of the humour peculiar to Florence.

If Bandello appropriated the romantic element in Boccaccio, II Lasca chose his comic side for imitation. Three boon companions, Lo Scheggia, II. Still the specific note of II Lasca's novels is not pure fun. He combines obscenity with fierce carnal cruelty and inhuman jesting, in a mixture that speaks but ill for the taste of his time.

It needed the depravity of the sixteenth century to relish the lust, seasoned with physical torture and spiritual agony, which was so cunningly revealed, so coldly revelled in by II Lasca.

But the men must have been blunted in moral sensibility and surfeited with strange experiences, who could enjoy Pilucca's brutal tricks, or derive pleasure from the climax of a tale so ghastly as the fifth Novella of the second series. This is a story of incest and a husband's vengeance. Substantially the same as Parisina's tragedy, II Lasca has invented for it his own whimsically horrible conclusion. The husband surprises his wife and son. Then, having cut off their hands, feet, eyes and tongues, he leaves them to die together on the bed where he had found them.

The rhetoric with which this catastrophe is embellished, and the purring sympathy expressed for the guilty couple, only serve to make its inhumanity more glaring. Incapable of understanding tragedy, these writers of a vitiated age sought excitement in. The work produced is a proper pendent to the filth of the burlesque Capitoli. Literature of this sort might have amused Caligula and his gladiators.

Prefaced by an unctuous prayer to God, it realises the very superfluity of naughtiness. In favour of the Florentines, we might plead that these Novelle were accepted as pure fictions — debauches of the fancy, escapades of inventive wit. The ideal world they represented, claimed no contact with realities of life. The pranks of Lo Scheggia and II Pilucca, which drove one man into exile, another to the hospital, and a third to his death, had no more actuality than the tricks of clown and pantaloon.

Literature of convention, which begins by stimulating curiosity, must find novel combinations and fresh seasonings to pique the palate of the public.

Thus the abominations of II Lasca's stories would have to be regarded as the last desperate bids for popularity, as final hyperboles of exhausted rhetoric. Yet, after all, books remain the mirror of a people's taste. Whatever their quality may be, they are produced to satisfy some demand. And the wonderful vivacity of II Lasca's colouring, the veracity of his art, preclude him from the benefit of a defence which presupposes that he stood in some unnatural relation to his age.

While we read his tales, we cannot but remember the faces painted by Bronzino, or modelled by Cellini. The sixteenth -century Florentines were hard and cold as steel.

Their temper had been brutaUsed by servitude, superficially polished by humanism, blunted by the extraordinary intellectual activity of three centuries.

Compared with the voluptuous but sym- pathetic mood of the Lombard novelists, this cruelty means something special to the race. Some of II Lasca's stories, fortunately, need no such strained apology or explanation. The companion portrait of the dissolute monk, who sets his hand to any dirty work that has the spice of fun in it, is also executed with no little spirit. Among the most graceful of the Tuscan novelists may be mentioned Agnolo Firenzuola. His family derived its name from a village at the foot of the Pistojan Apennines, and hia father was a citizen of Florence.

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Agrippina condotta a morire HWV Cuopre talvolta il cielo HWV Obras de Mahler y Prokofiev. O las dedicadas a Vivaldi y Monteverdi. Como ya es sabido, muchas de las partes de la Misa, salvo el Kyrie y el Gloria, tuvieron su origen en parodias de obras compuestas anteriormente, pudiendo encontrar notas sobre la estructura de la obra en Vega Cernuda, op.

Coro BBC. Para los interesados en su estructura musical recomendamos el libro citado de Vega Cernuda, que analiza con lenguaje asequible para el profano el contenido de esta gran obra op.

Coro Monteverdi. Obras de Wagner, Chaikovski, Debussy y Verdi. Obras de Verdi, Bellini, Rossini y Lincke. Un concierto, en suma, muy atractivo y totalmente recomendable, muy bien grabado y filmado.

Resumiendo, tres DVDs protagonizados por Abbado en sus mejores momentos. Pero no es eso, o por lo menos no es simplemente eso. Lo digo porque fal- taba poco para Sarajevo, Huillet y Straub firmaron juntos muchos films, a menudo con trama y contenidos musicales o teatrales. Recordamos el impacto de aquel fonograma. O bastante. Un lago, caramba. Este matrimonio no puede acabar bien, piensa uno.

Sensacional Gielen, el impagable. Dejando respetuosamente a un lado el aspecto sentimental, hemos de decir que lo escuchado se puede calificar como simplemente mediocre. La exigencia a la orquesta no logra extraer de ella un resultado equilibrado, con muchos momentos de aspereza en el metal. Sin contrastes, con tempi poco hilvanados y pulsos caprichosamente variables, escuchamos un todo fragmen- tado y mal construido.

Una sorpresa viene a mitigar el mal sabor de boca. Y, en efecto, es constatable que nos encontramos ante una Quinta de referencia. Disco, pues, excepcional con total objetividad. Aparte de esto, el rendimiento de la centuria alemana no es tampoco precisamente sobresaliente. En resumen, tres enfoques con resultados dispares, desde la mediocridad prescindible de Zander a la excelencia de Janowski, pasando por la irregularidad de Bertini. Del complemento, lo mejor que podemos decir es que no es tal cosa sino el segundo gran pilar del disco.

Por motivos distintos, los tres discos contaban con alicientes suficientes para mantenernos expectantes y hacernos aguardar a que el reproductor fuera extrayendo de ellos su contenido. Propone, por ejemplo, una sonoridad tan sumamente delicada y algodonosa en todo el segundo movimiento y gran parte del tercero, que pensaremos —y muy probablemente acertaremos— no haber escuchado nunca Mahler con tal nivel de delicadeza.

Y, finalmente, el Adagio. En manos de Norrington no lo parece. Los registros contenidos en este disco aparecen, al menos que yo sepa, por vez primera en CD. El Vals op. El vol. En suma, recuperaciones richterianas muy golosas. No la dejen pasar. El ciclo se completa con el Primer Concierto repetido. Un notable Beethoven, en suma, que puede hacer un buen papel en cualquier discoteca. Las Variaciones op. El cuarto CD cuenta con obras de Schoenberg Cinco piezas, op.

En resumen, muy notables publicaciones dedicadas a las grabaciones del director estrella actual de la EMI. Partita BWV Chacona de la Partita BWV Preludio BWV Sonata BWV Preludio, fuga y allegro BWV Interpretaciones sensibles y suficientemente variadas, pese a las aparentes limitaciones del instrumento. Libro II. Muy recomendable, en cualquier caso. La delicadeza en el control del arco combina un timbre de matiz levemente terroso en graves y medios con la transparencia y el brillo de las alturas.

N PN N ada nos sorprende ya. Lo que el aficionado acaba pidiendo es que lo que se le ofrezca tenga coherencia, calidad y, por tanto, convenza.

Stravinski se asoma por esos cinco movimientos, a veces mucho. Para cerrar este disco concertante, otro gringo, Samuel No se pierdan este disco. Esperemos que esta maravilla de disco no pase inadvertida. Claire Vaquero Williams violinista. Un bello disco rico en evocaciones tensas, con mucho lirismo y no poco canto y danza. Una partitura resuelta con oficio, pero un tanto carente de chispa.

El coro, correcto. Los solistas defienden con solvencia sus partes, que incluyen algunos pasajes con agilidades de cierta dificultad. Formidable trabajo el suyo. N PN S orprendente Casella. Retrato de Iris. Suites para viola da gamba y Piezas para clave. Suite en fa sostenido menor. Son, respectivamente, las Baladas y el Concierto. Glosas a Mozart. LIM Ferysa. Ahora bien, dado que probablemente no haya alternativa, merece la pena acercarse a esta joya aunque no se nos ofrezca en las mejores condiciones posibles.

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El efecto es absolutamente fascinante de principio a fin. Versiones, en suma, dignas de ser tenidas en cuenta. Concierto macabro. Sobre el trabajo de Zylberajch el calificativo de ideal se queda corto. Pero se le recuerda, sobre todo, por sus magistrales partituras para el cine, desde Ciudadano Kane hasta Taxi Driver. Volveremos sobre este disco. Pero eso ya lo advertimos en ciertas secuencias de Citizen Kane. Es el estilo, es el suspense.

Son apenas 11 minutos que sirven como intermedio entre los 17 de la secuencia de Hangover Square y la amplia, contrastada y diferenciada partitura de Citizen Kane. Rumon Gamba y la BBC, duchos en estos repertorios, trabajan muy a gusto y de manera muy seria e inspirada para proporcionarnos estas joyitas que constituyen una parte de lo mejor que se ha compuesto para el cine. NEOS Diverdi.

Ahora bien, la cantata para voz de contralto y bajo continuo en la que se van desgranando diversas secuencias de la guerra de Troya, siguiendo un texto encargado por Marcello al poeta veneciano Antonio Conti, es de una sorprendente modernidad. No es justo, aunque podamos comprenderlo. Mas para crecer a lo largo casi 40 minutos hay que saber matizar, ascender y bajar, esto es, retroceder a veces.

En Bydlo, a Ader se le da mejor alejarse que el forzudo paso de la carreta. Y no de una integral cualquiera, sino de un ciclo magistral. Mozart en estado nato. Solti deja hacer a la gran solista y se impregna de su Mozart inmaculado. Todos estamos de enhorabuena. No se pierdan este primer ejemplar, que luego se agota y se quedan sin completarla.

CPO Diverdi. Pablo L. R PE E stas grabaciones son conocidas, ya que ya han sido editadas con anterioridad. N PN E stamos en mayo de Valse ballet. Je te veux, valse. N PN Siempre es un placer regresar a Satie si se trata de un pianista que busca el estilo. La musicalidad que despide este recital es asombrosa. Una maravilla, por la manera en que Richter recrea estas obras. Pero algo nos dice: lo de Blet es diferente, aunque sea lo mismo. MDG Diverdi. Segovia fue prudente en esto, como lo han sido guitarristas posteriores tan serios como Romero, Williams, Russell y otros, pero a veces el riesgo tiene recompensas y ese es el caso que hoy nos ocupa.

Cuatro piezas para coro mixto op. Septeto-Suite op. El Op. En medio, las piezas corales Opp. Pero el tiempo todo lo cura, y Stravinski se hizo serialista, poco a poco, tras la muerte de Schoenberg en El Septeto op. Craft, en sus notas, emparenta el Op. Como siempre, Craft se rodea de excelentes profesionales, como esos tres instrumentistas de cuerda citados, que sacan adelante un Op. Los coros Opp. Y totalmente ajena a la de, por ejemplo, Stravinski. Nada menos que Irmgard Seefried.

Seefried va a ponerse al lado de la Marie alemana por excelencia, que no ha sido otra que Pilar Lorengar. La orquesta resulta un poco como en los dos primeros ciclos citados.

N PN No hace falta ser un stravinskiano de pro para degustar este manjar exquisito, este recital que sabe a poco, estas sugerencias de Stravinski como manierista o de Stravinski como plenamente barroco, junto a Gesualdo y Bach. Vemos que el Gesualdo stravinskiano escolta o precede a la Misa.

Es como si el ancestro ruso de Volkov fuese en busca de Stravinski como compatriota, cuando en Rusia todos han crecido con la idea de que Igor Fiodorovich era o un ruso renegado o uno que en fin de cuentas no era de los suyos. No es preciso rezar, basta con ponerse de rodillas.

El director de centro nacional puede rumiar su venganza. Y anularon varias carreras, arruinaron varias vidas. Mataron poetas, dramaturgos, narradores. Aunque algunos quedaron marcados por el miedo para toda la vida. Ella, Galina Ivanovna, en los tiempos de la hambruna, en , con guerra civil y crisis del comunismo de guerra. Dimitri Shostakovich tuvo que casarse con otra. Era una moderna; esto es, una excluida. El Rodolfo del tenor, voz rica y talante muy de loggione, brilla sobre todo en el canto de fuerza, concretado especialmente en una lectura impresionante de la cabaletta.

Matizado Miller el de Taddei, por un lado soldado autoritario, por otro de una ternura paternal sobresaliente, siempre Obras completas para piano. N PN los casi diez minutos de la Cuarta , supuesto deshielo. El programa de Sabine Liebner se abre con Doce Preludios de No mitifiquemos a Ustvolskaia. La Federica de Ludwig es un lujo vocal y expresivo, aunque esta expresividad remita a otros universos distintos del verdiano.

El equilibrio y la sensibilidad por destacar los detalles expresivos de cada pasaje funcionan igual en un motete escrito para la reliquia de la Santa Sangre de Brujas, Laus tibi, sacra rubens, a 5 voces, y en Creator omnium, Deus, otra vez a 6, y con un canon como sustento formal.

Suite veneziana. Lo mejor, sin duda, las prestaciones de una orquesta estupenda. Obras de Respighi, Hindemith y Schmitt. Programa audaz, poco habitual y no exento de riesgo por el peligro de caer en el puro efectismo. Il bel sogno.

Somos los mismos que advertimos ahora que este recital no da satisfactoriamente la talla de su arte. Padre e hijo. Escenas de Lohengrin, Sigfrido, El ocaso de los dioses y Parsifal. EMI 4 2. Obras de Chaikovski, Prokofiev y Bach. N PN M ateriales de fondo de armario que ya han aparecido anteriormente en el mercado en diversas presentaciones.

Grabaciones de mediados de los cincuenta, con tomas monoaurales limpias de ruidos pero distantes, focalizadas sobre el piano solista y, en ciertos momentos, saturadas. Respecto al Concierto BWV de Bach, es evidente que asistimos a algo superado en lo relativo a masa orquestal, sonoridad y concepto. En ese sentido, entendido como documento sonoro, es como el disco adquiere su significado y su valor.

Una editora que se llama Lindoro, sevillana ha de ser. Obras de Tormis, Sibelius, Kreek y Bergman. Romances y cantigas entre moros y cristianos.

CDM Diverdi. Arias barrocas italianas. Patricia Petibon, soprano. Marcello Arianna. En las arias lentas, Petibon se esfuerza por resultar expresi- va, aunque su vehemencia pueda parecer excesiva en Ah!

Los bailarines Maria Kowroski y Martin Harvey, muy ocupados en este montaje, aportan un buen complemento danzable. Junto a ellos la gran Fedora Barbieri que aporta su potente voz y un canto rotundo y profundo, expresado claramente su deseo de venganza, completando el reparto el efectivo Otello Borgonovo. N PN Es sabido desde siempre el trabajo y la calidad con que se realizan las producciones realizadas en Glyndebourne, con su correspondiente y sucesivo disfrute.

Consigue componer una pareja perfecta con el tenor. Este cuarteto no hace de menos, pese a la menor importancia del rol, a la pizpireta Giannetta de Pretorian. La propuesta es sabrosa y algo confusa. Todos parecen imbuidos de su tarea. La casa de la bruja, surgiendo de la tierra y volviendo a ella, resulta un hallazgo. Alfio, de voz modesta, dio en la diana de su parte e igualmente, y con perfectos physiques du rol, Lola y Lucia.

Cedolins hizo una Nedda suntuosa de medios, apetitosa de aspecto y justa de modales. Deficiente, el Tonio. Cumplido, el Beppe. Vocalmente, el amplio equipo disfruta de la uniformidad conceptual impuesta por su director, pese a que los resultados dentro de un notable nivel difieran.

Filianoti demuestra que por entonces se hallaba en plena actividad rossiniana; ello no opta para que algunos ascensos al agudo le queden algo tirantes. Concierto para oboe. Eduard Reeser. Estamos en diciembre de , en el Louvre, nada menos.

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