Schnittke Concerto Grosso

Alfred Schnittke - Concerto Grosso No. 1 (version for flute and oboe) / Symphony No. 9  - Cape Philharmonic, Hughes

Alfred Schnittke - Concerto Grosso No. 1 (version for flute and oboe) / Symphony No. 9 - Cape Philharmonic, Hughes
XX Century Classical | Easy CD-DA Rip | APE, IMG+CUE, NO LOG | No cover/No Booklet | 206 MB | Filesonic
Publisher: BIS - records

On this disc the reconstructed unfinished symphony No. 9 combined with Schnittke's Concerto grosso No.1. This time not in the rather well known original version, but in Schnittke's own revised version with solo parts for flute and oboe.
Written during the composer’s final years, and after Schnittke had suffered a serious stroke, the autograph score of the Symphony No. 9 was so difficult to decipher that it had to be reconstructed after the composer’s death – a painstaking process which was crowned by a first performance in 2007.
Alfred Schnittke - Concerto grosso No.6 & Symphony No.8 (1995)

Alfred Schnittke: Concerto grosso No.6 & Symphony No.8 (1995)
Classical | EAC (APE & CUE) | 165 MB
Various mirrors: Rapidshare, Depositfiles, Megaupload & more!

Suffice to say Schnittke's Eighth Symphony is truly one of his greatest works and, indeed, one of the great symphonic works of the latter twentieth century. The charge of oppressive asceticism laid against the Sixth and Seventh symphonies can hardly be held up to this expansive and frankly emotional work. It is as if Schnittke relaxed the skeletal sounds of his previous essays in the genre and, while not quite returning to the dazzling orchestral pyrotechnics of the Fifth Symphony (Concerto Grosso no. 4), created a work of great sincerity and beauty. The first movement is an obsessive repetition of a wide-ranging (in pitch, not rhythm) melody, seemingly effortlessly varied to touch on all sections of the orchestra. The climax is reached early in the movement and the remainder is a chilling decrescendo, the harmonies becoming more static and dissonant. The second and fourth movements are bitter, angry and Shostakovichian in their use of dissonant intervals to create a long line. They share thematic material, yet shards of the first and third movements invade to further complicate the texture. The eighteen minute third movement is a remarkable achievement. It seems to pick up the wisps of tonality discernable at the end of Mahler's Ninth and convert them into a long elegy for a lost romanticism. The sparsity of texture (often long stretches of monophonic strings) throws the emotive weight totally on the long, twisting and often stunningly beautiful melodies that emerge. The entrance of the low brass towards the end is just one of the profound moments in this stunning meditation on life, and the afterlife. After the rage of the fourth movement, the fifth movement provides a truly wonderful solution to the problems of the previous ones- a slowly ascending c major scale is caught by various instruments, always ppp and the work ends with this visionary cluster.
Amazon.com
Royal Stockholm Philharmonic Orchestra, Gennady Rozhdestvensky - Schnittke: Symphony No.8, Concerto grosso No.6 (1995) (Repost)

Royal Stockholm Philharmonic Orchestra, Gennady Rozhdestvensky - Schnittke: Symphony No.8, Concerto grosso No.6 (1995)
EAC | FLAC (image+.cue, log) | Covers + Digital Booklet | 53:24 | 180 MB
Genre: Classical | Label: Chandos | Catalog: 9359

The late Alfred Schnittke has, after his death, been accused of writing too much music of variable quality. This debate is still raging although suffice to say that the Eighth Symphony truly is one of his greatest works and indeed, one of the great symphonic works of the latter twentieth century. The charge of oppressive asceticism laid against the Sixth and Seventh symphonies can hardly be held up to this expansive and frankly emotional work. It is as if Schnittke relaxed the skeletal sounds of his previous essays in the genre and, while not quite returning to the dazzling orchestral pyrotechnics of the Fifth Symphony (Concerto Grosso no. 4), creating a work of great sincerity and beauty. The first movement is an obsessive repetition of a wide-ranging (in pitch, not rhythm) melody, seemingly effortlessly varied to touch on all sections of the orchestra.
Ernst Krenek - Symphony No. 4, Concerto grosso No. 2 (North German Radio Philharmonic, A. Francis)

Ernst Krenek - Symphony No. 4, Concerto grosso No. 2 (North German Radio Philharmonic, A. Francis)
Classical | EAC: FLAC+Cue+Log | 1 Cd, Covers + Booklet | 322 Mb
Date: 2011

In many ways the Fourth Symphony illustrates Krenek's independence from any one musical style – and ultimately from his teacher(s) and those who influenced him, like Busoni, too. It has a thread of mid-century anguish and uncertainty. But it could never be described as avant-garde or experimental. Yet it's of a pleasing unity, has direction and thrust which make it more than merely stimulating listening. Like all but those of the first and second symphonies, this one on cpo is the only recording. It's full of purpose, clarity and of transparent, open, yet very …….
Mark Sealey @ classical.net
Alfred Schnittke - Symphony No.8 - Concerto Grosso 6 - Stockholm Symphony Orchestra - G. Rozhdestvensky

Alfred Schnittke - Symphony No.8 - Concerto Grosso 6 - Stockholm Symphony Orchestra - G. Rozhdestvensky
XX Century Classical | 1 CD | Easy CD-DA Rip | APE, IMG+CUE, NO LOG | SCANS | 163 MB | Filesonic
Publisher: Chandos - records

The extraordinary religious feeling of the Eighth Symphony is no doubt a product of the decade of illness that preceded its composition. Schnittke had a series of strokes beginning in 1985 and refused to surrender to them, continuing his career and producing a notable quantity of excellent new music until his death in 1999. The composer acknowledged that this led him into contemplation of subjects beyond this world, and brought to the surface both his Christian faith and his Jewish heritage. This symphony was premiered in Stockholm on November 10, 1994, with Gennady Rozhdestvensky conducting.
Schnittke wrote his Concerto Grosso No. 6 for the musical Rozhdesvensky family, and it was premiered on January 11, 1994 with Gennady Rozhdestvensky conducting, Vikoria Postnikova, pianist, and their son Sasha Rozhdestvensky, violinist.
Capella Tiberina; Corina Marti, Alexandra Nigito - Alessandro Scarlatti: 12 Sinfonie di Concerto grosso (2015) 2CDs

Alessandro Scarlatti - 12 Sinfonie di Concerto grosso (2015) 2CDs
Capella Tiberina; Corina Marti, recorder; Paolo Perrone, concertmaster;
Alexandra Nigito, harpsichord; Ann Allen, oboe, recorder; Giuseppe Frau, trumpet

EAC | FLAC | Image (Cue&Log) ~ 506 Mb (incl 5%) | Mp3 (CBR320) ~ 247 Mb (incl 5%) | Scans included
Genre: Classical | Label: Brilliant Classics | # 94658 | Time: 01:28:48

After being kept in relative obscurity the music of Alessandro Scarlatti is making a glorious come back, and is recognised as at least as innovative, brilliant and profound as the music of his son, the famous Domenico Scarlatti. These “12 sinfonie di concerto grosso” are concertante works, either for a variety of solo instruments (concerto grosso) or for solo recorder and strings. These are delightful baroque concertos, brimming with energy, Italian charm and gusto. Played by Early Music group Capella Tiberina on historical instruments, Corina Marti is the recorder soloist, who already excelled in her recording of the Mancini recorder concertos on Brilliant Classics (BC 94324).
Seattle Symphony, Gerard Schwarz - Ernest Bloch: America; Concerto Grosso No.1 (2012)

Ernest Bloch - America; Concerto Grosso No.1 (2012)
Seattle Symphony, conducted by Gerard Schwarz; Patricia Michaelian, piano

EAC | FLAC | Image (Cue&Log) ~ 231 Mb (incl 5%) | Mp3 (CBR320) ~ 154 Mb (incl 5%) | Scans included
Genre: Classical | Label: Naxos | # 8.572743 | Time: 01:01:54

Swiss-born Bloch, a pupil of Eugène Ysaÿe, emigrated to the United States in 1916. Written in 1926, two years after Bloch had become an American citizen, America: An Epic Rhapsody, is the composer’s tribute to his adopted country. This romantic and patriotic score vividly surveys the history of the US from the native American melodies of pre-colonial days to the modern era of 1920s jazz and beyond. The Concerto Grosso No 1 is a bold statement which unites the eighteenth-century concerto grosso form with a modern tonal language.

New Trolls - Concerto Grosso Trilogy Live (2007)  Music

Posted by uff at Oct. 11, 2015
New Trolls - Concerto Grosso Trilogy Live (2007)

New Trolls - Concerto Grosso Trilogy Live (2007)
DVD9 | VIDEO_TS | MPEG-2 Video, PAL 16:9 (720x576), 25fps, 7576kbps | LPCM, 2.0 | 125min | 7600Mb
Rock | Aereostella/Edel 0185688AER | rel: 2007 | covers

What a fantastic year , 2007 , for New Trolls and for their fans. This is the group I presonally loved more during my youth in spite of their not very linear musical hystory. This CD + DVD package is taken from a live concert in Trieste - Italy in August 2007.

New Trolls - Concerto Grosso Trilogy Live (2007) (Repost)  Music

Posted by gribovar at Sept. 19, 2015
New Trolls - Concerto Grosso Trilogy Live (2007) (Repost)

New Trolls - Concerto Grosso Trilogy Live (2007)
EAC Rip | FLAC (tracks+.cue+log) - 901 MB | MP3 CBR 320 kbps (LAME 3.93) - 313 MB | Covers - 67 MB
Genre: Progressive Rock | RAR 3% Rec. | Label: Aereostella/Edel (0185688AER)

Unique in the history of Italian progressive music, New Trolls were leaders and were for a time the top band in Italy. In 1973, New Trolls split into two camps, the hard-rocking IBIS and the symphonic-oriented New Trolls Atonic System. They crossed many different permutations of line-up changes, many musical stylings… and great hits, passing through beat, pop ballads, progressive rock works, hard rock, and melodic pop followed groups like Genesis and PFM.

New Trolls - Concerto Grosso: The Seven Seasons (2007)  Music

Posted by uff at Aug. 28, 2015
New Trolls - Concerto Grosso: The Seven Seasons (2007)

New Trolls - Concerto Grosso: The Seven Seasons (2007)
Rock | 1cd | EAC Rip | Flac + Cue + Log | covers
Marquee MICP-10706 | rel: 2007 | 440Mb

Most reunion albums by old progressive rock bands are disappointing. The latest collaboration between Nico Di Palo and Vittorio de Scalzi, arguably the most important members of the original New Trolls, is anything but. If anything this may be New Trolls' best album to date. Nico Di Palo's vocals have never sounded better and his Italian accent is now so muted at to be almost undetectable.