New Favs

Live from Chaillol festival. 
Sound Engineer : Ivan Solano.

Johan-Sebastian Bach Passacaglia for organ BWV 582 (Trans. Emile Naoumoff)

Frédéric Chopin Piano By Pouya Raiyan

1. Allegro non troppo e molto maestoso – Allegro con spirito (B flat minor → B flat major)

The first movement is initiated with four emphatic B-flat minor chords, which leads to a lyrical and passionate theme in D-flat major. This subsidiary theme never appears again throughout the movement. The main theme of the concerto is a Ukrainian folk theme which is contrasted with a romantic theme, both in B-flat minor and featuring some of the melodic contours from the introduction. They are followed by a consoling orchestral A-flat major theme over a pedal point, which is repeated at the end of the exposition after a tumultuous climax in C minor. The development section juxtaposes the folk theme with the romantic theme. The recapitulation features the primary theme in the tonic key, leading into a transposition of the romantic theme and climax in the tonic major, before the excitement is cut short by an interrupted cadence and a piano cadenza. Surprisingly, the movement does not revert to the tonic minor, but instead leads to a triumphant and optimistic coda, concluding in B-flat major with a drum roll.

2. Andantino semplice – Allegro vivace assai/Prestissimo (D flat major)

The second movement, in D-flat major is marked "andantino semplice", which lends itself to a range of interpretations. 

The movement is in ternary form (ABA). After a brief pizzicato introduction, the flute carries the first statement of the theme. The flute's opening four notes are A-flat–E-flat–F–A-flat, while each other statement of this motif in the remainder of the movement substitutes the F for a (higher) B-flat. The British pianist Stephen Hough suggests this may be an error in the published score, and that the flute should play a B-flat. After the flute's opening statement of the melody, the piano continues and modulates to F major. After a bridge section, two cellos return with the theme in D-flat major and the oboe continues it. The "A" section ends with the piano holding a high F major chord, pianissimo. The movement's "B" section is in D minor (the relative minor of F major) and marked "allegro vivace assai" or "prestissimo", depending on the edition. It commences with a virtuosic piano introduction before the piano assumes an accompanying role and the strings commence a new melody in D major melody. The "B" section ends with another virtuosic solo passage for the piano, leading into the return of the "A" section. In the return, the piano makes the first, now ornamented, statement of the theme. The oboe continues the theme, this time resolving it to the tonic (D-flat major) and setting up a brief coda which finishes ppp.

3. Allegro con fuoco (B flat minor → B flat major)

The third movement is marked "allegro con fuoco", and involves the interchange between two principal themes roughly in an ABABAB structure. The "A" theme in B-flat minor, based on a Ukrainian folk song, is principally carried by the piano on each occasion. On the first two occasions it develops into a subsidiary theme, in a major key, played by the orchestra. The "B" theme also appears three times, although in very different guises. On the first occasion it is a lyrical string melody in D-flat major, which the piano develops. Its second appearance is in an abridged form and in E-flat major. Its third and final appearance is in B-flat major, after a long and climactic bridge passage. This time it is triumphal, rather than lyrical, and played fortissimo by the orchestra and piano together. This final appearance leads into a B flat major coda marked "allegro vivo".

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Pyotr Ilyich Tcháikóvski - Piano Concerto No. 1 in B-flat minor, Op. 23.

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Midnight City

Opéra-comique in quattro atti. Libretto di H.Meilhac e L.Halévy da Mérimée.
Parigi, Opéra-Comique, 3 marzo 1875
Carmen: Shirley Verrett
Micaela: Isabel Garcisanz
Frasquita: Nadine Sauterau
Mercédès: Jacqueline Broudeur
Don Josè: Albert Lance
Escamillo: Robert Massard
Le Dancaire: Bernard Demigny
Le Remendado: Michael Hamel
Zuniga: Anton Diakov
Moralès: Claude Genty
Orchestra sinfonica e coro di Roma della RAI
direttore: Georges Pretre
reg.14 dicembre 1967

Georges Bizet: "Carmen"  (Roma, 1967)

Ostara - Secrets of Our Burnt Mothers

Comme toi j'ai un cœur
Qui ne peut rien promettre
A qui l'amour fait peur
Mais qui t'aime peut-être
A quoi ça sert de le cacher?
A quoi ça sert d'y échapper?

Je n'ai rien à t'offrir
Que ce que mes yeux voient
Tu ne veux pas souffrir
Mais qui ne souffre pas?
A quoi ça sert de l'éviter?
A quoi ça sert de t'en aller?

A rester dans ta tour d'ivoire
En broyant du rose ou du noir
Tout seul – tout seul

Comme on n'est pas très malheureux
On oublie qu'on n'est pas heureux
Tout seul, tout seul

Je n'ai que les étoiles
Et rien d'autre pour toi
Si l'on doit se faire mal
C'est la vie qui veut ça
A quoi ça sert de rester seul?
A quoi ça sert de vivre seul?
Tout seul?

English :

 Like you I have a heart,
That can promise
nothing,
That is frightened by
love,
But that loves you
perhaps.
How would it help, hiding
from it?
How would it help, slipping away?

I have nothing to offer
you,
Except what my eyes can
see.
You don’t want to get
hurt,
But who doesn’t get hurt?
How would it help, avoiding
it?
How would it help, walking
away?

Staying in your ivory
tower,
Grinding to red or to
black.
All alone, all alone.

When you’re not very
unhappy,
You forget that you are
not happy.
All alone, all alone.

I have nothing but the
stars,
And nothing else to
share.
If we must cause us pain,
It is life that wants that.
How would it help, staying
alone?
How would it help, living alone?
Alone?

Françoise Hardy - A Quoi Ça Sert (How Would It Help) [Live]

Live at Cozertgebow, Amsterdam, February 26, 2016

Purcell: Dido and Aeneas, Act 3: "Thy Hand, Belinda...When I Am Laid in Earth"

09 Bach J.S.  Wohltemperiertes Klavier  Präludium C - Dur

Album Release (worldwide): September 2016

ANNA PROHASKA 
SERPENT & FIRE
ARIAS FOR DIDO & CLEOPATRA
ANNA PROHASKA
IL GIARDINO ARMONICO
GIOVANNI ANTONINI

PURCELL // Dido and Aeneas, Z. 626, Act III: "Thy Hand, Belinda...When I Am Laid in Earth"

Crystal Castles (II)

Baptism

rachmaninov piano concerto 3

Live performance at Loyola Marymount University (Sacred Heart Chapel)

Pierre Joubert, violin
Daniel Zuluaga, baroque guitar
Ruben Valenzuela, harpsichord

Bach Collegium San Diego

Arcangelo Corelli 'La Follia Variations' Op. 5

Alpha has been a noted reference in the world of classical music since its inception twelve years ago. Today, the label is broadening its horizons, welcoming outstanding new artists and opening its doors to an array of innovative projects.

Vocal repertoire becomes a major focus of the new ALPHA: Véronique Gens has just recorded a recital of French songs with Susan Manoff as part of an ongoing collaboration with the label. The baritone Georg Nigl also joins Alpha. He will collaborate with Andreas Staier on a Bach album. The new generation is represented by Gaëlle Arquez and the soprano Mari Eriksmoen. She will record a programme of songs by Grieg, Strauss and Wolf in April in the framework of the partnership between ALPHA and the Academy of the Aix-en-Provence Festival.

Outstanding instrumental soloists have also signed with ALPHA: the pianist Anna Vinnitskaya presents the Shostakovich concertos with Kremerata Baltica. Others will be announced soon.

Collaborations with major orchestras are being finalised, but we can announce multi-year projects with Hervé Niquet and with Le Concert Spirituel (Vivaldi Gloria & Magnificat for double choir to be released this fall). Equally noteworthy are the Beethoven symphonies recorded by Martin Haselböck and the Wiener Akademie in the halls where they were first performed.

ALPHA is also expanding its chronological scope, since the label is launching a series with the Ensemble Intercontemporain and Matthias Pintscher and will release a program by Peter Eötvös. For the twentieth century, Arthur Honegger’s Jeanne d’Arc au bûcher has just appeared, with an incredibly intense narrator, the actress Marion Cotillard.

As part of the new series ALPHA OPERA, a DVD collection has been created in conjunction with major institutions such as the THEATRE ROYAL DE LA MONNAIE in Brussels and the Opéra Royal du Château de Versailles, featuring top ensembles including Les Talens Lyriques under Christophe Rousset and Le Concert Spirituel under Hervé Niquet (Don Quichotte chez la Duchesse by Boismortier, directed by Corinne et Gilles BENIZIO, aka SHIRLEY & DINO).

ALPHA remains faithful to the artists who have made its history and its reputation. Vincent Dumestre and Le Poème Harmonique will present a disc of Airs de Cour in the autumn. Bruno Cocset has recorded a second volume of works by Barrière, and Olivier Fortin, Alexis Kossenko, Lucille Boulanger, Arnaud de Pasquale, Céline Frisch and Café ZIMMERMANN will also offer new releases. The ambitious Haydn 2032 project continues under the direction of Giovanni Antonini, while the ‘Château de Versailles’ collection presents recordings of Campra and Leclair by Olivier Schneebeli and Sébastien d’Hérin respectively.

In order to strenghten the label on the international scene, ALPHA will bring together all its house artists with those who recorded for ZIG-ZAG TERRITOIRES. This merger will make for greater coherence among the 600 recordings in the existing catalogues (especially in the field of early music, the strong point of both labels) and the new releases. By the end of 2015 ALPHA will thus offer a chance to renew acquaintance with such major artists as the Belcea Quartet, Doulce Mémoire and Denis Raisin Dadre, Nelson Goerner in Chopin, Tedi Papavrami in Bartók, Amandine Beyer, Mario Ceccato, and Alexei Lubimov and many others. Another highlight of the year is the seventieth birthday of Jos Van Immerseel: with Anima Eterna Brugge, he will present a magnificent Schubertiade as well as a symphonic programme with Janácek and Dvoràk.

Since December 1st 2014, the label is directed by Didier Martin.

PURCELL // Dido and Aeneas, Z. 626, Act III: "Thy Hand, Belinda...When I Am Laid in Earth"

Alpha Classics

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