
"I Heard the Bells on Christmas Day" est un chant de Noël dont les paroles proviennent d’un poème écrit par Henry Wadsworth Longfellow en 1863, durant la Guerre de Sécession. Quand Roger McGuinn, ancien leader des Byrds et icône de la folk américaine, a enregistré sa version, il a révélé dans une interview qu'il souhaitait capturer l'esprit d'espoir qui traverse le poème, même dans les moments les plus sombres. Pour cela, il a utilisé une guitare acoustique vintage et des harmonies sobres, en hommage à la simplicité intemporelle du message.  

les Thèmes principaux sont Paix, espoir, et résilience face aux conflits.  

Cette chanson est souvent considérée comme un appel à l'espoir et à la foi, particulièrement pertinent dans les périodes de trouble.


I Heard the Bells on Christmas Day





🎶 Presentation of the Piece

Work

Johann Sebastian Bach – Jesu, Joy of Man’s Desiring (BWV 147)
Arranged for viola and piano by Watson Forbes

Context

Originally composed in 1723 as part of the cantata Herz und Mund und Tat und Leben (BWV 147), Jesu, Joy of Man’s Desiring is one of Bach’s most celebrated works. Known for its flowing, contemplative melody, it has become emblematic in both sacred and secular contexts—frequently performed at weddings, church ceremonies, and solemn occasions.

Watson Forbes’ arrangement translates this iconic choral movement into the intimate setting of viola and piano, preserving the meditative flow while offering a new timbral richness. The warm sonority of the viola takes on the vocal line, while the piano provides both harmonic depth and rhythmic continuity, creating an atmosphere that is at once spiritual and personal.

Interpretation

Viola: Elias Goldstein – acclaimed for his expressive playing and nuanced approach to both classical and contemporary repertoire.

Piano: Matthew Ganong – a pianist whose sensitivity and clarity highlight the contrapuntal lines and harmonic structure of the work.

Arranger: Watson Forbes – Scottish violist and prolific arranger, who greatly contributed to expanding the viola repertoire by adapting major works with care and stylistic fidelity.

This interpretation emphasizes intimacy and dialogue, bringing out a dimension of Bach’s music that feels almost like a private meditation between two instruments.

Recording

Label: Pandora Records – founded in 1973, active for about ten years.

Availability: The Pandora archives, including this disc, are now freely available for download through the Ibiblio server at the University of North Carolina, under an Electronic Frontier Foundation (EFF) license.

Preservation: Some recordings were transferred from the original master tapes; others were digitized directly from LPs when tapes were no longer available.

Pandora’s mission was to make rare chamber music recordings accessible, and this release exemplifies their dedication to high-quality interpretation and preservation.

Anecdote

Watson Forbes (1909–1997) devoted much of his career to adapting the great classics for viola, an instrument he believed deserved greater visibility in chamber music. His transcription of Jesu, Joy of Man’s Desiring is a testament to this mission: it transforms a universally recognized choral into an intimate duet, where the viola becomes the “voice” and the piano the harmonic foundation.




JS Bach - Jesus que ma joie demeure

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🎶 Presentation of the Recording

Title

Johann Sebastian Bach – Complete Authentic Works for Flute (Traverso)
Instrument: Baroque flute (traverso) ; Stephen Preston.
Harpsichord: Martha Goldstein (continuo realization)
Recording: 1974 – Pandora Records, PAN 104


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Context

This 1974 recording is part of the project “Complete and Authentic Works from the Neue Bach Gesellschaft.” It brings together the flute sonatas of Johann Sebastian Bach that are considered authentic. One additional sonata, also agreed upon as authentic but missing its first movement, appears in Volume 2 of the collection.

The interpretation follows a historically informed approach:

The traverso used is an original instrument by Engelhard of Nuremberg, born in 1758. Tuned at A=419 Hz, it comes from the de Wit collection in Amsterdam and was kindly lent for this recording.

The harpsichord is an Italian replica, similar to the one used in other Pandora Italian harpsichord recordings, but equipped with a nasard stop (an additional row of jacks placed closer to the plucking point).

Tuning choices reflect Baroque practice:

B minor Sonata: Werkmeister no.1 (well temperament), allowing a wide range of key modulations.

Remaining sonatas: meantone temperament.




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Recording and Realization

Label: Pandora Records (PAN 104), released in 1974.

Performance: The basso continuo realization for the sonatas in E major and E minor was done by Martha Goldstein, an American harpsichordist known for her dedication to historical performance practice.

Particularity: These recordings are now freely available, digitized from original tapes or LPs, in the open Pandora archives (hosted by Ibiblio, University of North Carolina).



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Anecdote

The Engelhard traverso used here is a particularly rare instrument: built in the late 18th century, it actually postdates Bach’s lifetime (he died in 1750). Its use in this recording reflects the reality of early pioneers of the historically informed performance movement in the 1970s: in the absence of strictly contemporary instruments, they relied on close models to recapture the Baroque sound world.


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JS Bach - sonata B min for traverso



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🎶 Presentation of the Piece

Title

Bohuslav Martinů – Concerto for Two Pianos and Orchestra
Performers: Neal & Nancy O’Doan (pianos)
Conductor: Paul Freeman
Orchestra: Royal Philharmonic Orchestra (London)


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Context

Bohuslav Martinů (1890–1959), a Czech composer exiled in the United States during World War II, composed this concerto in 1943, at the heart of his American period. The work was originally commissioned by the renowned piano duo Gaby and Robert Casadesus, but the difficulties of the war prevented them from premiering it. Instead, Pierre Luboschutz and Genia Nemenoff, another married piano duo, gave the first performance in New York that same year. This context of exile, war, and displacement nourished a work that remains energetic and luminous, almost as a declaration of hope in the face of chaos.

Musical characteristics:

Brilliant dialogues between the two pianos and the orchestra, creating an almost triple-concerto dynamic.

Structure in three movements:

1. Allegro (lively, with rhythmic contrasts)


2. Adagio (mysterious and lyrical)


3. Allegro (brilliant, dance-like finale).





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Recording

Label: Pandora Records (founded in 1973, active for about ten years).

Particularity: The Pandora archives, including this disc, are now freely available for download through the Ibiblio server at the University of North Carolina, under an Electronic Frontier Foundation (EFF) license.

Preservation: Some masters come from the original tapes, while others were digitized from LPs when tapes were missing.


Neal and Nancy O’Doan: American piano duo specializing in two-piano and four-hand repertoire. Neal O’Doan also had an important teaching career at the University of Washington.

Paul Freeman (1936–2015): American conductor renowned for championing rare and modern repertoire, notably through many recordings with the Royal Philharmonic Orchestra.



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Martinu - Concerto for 2 pianos and orchestra



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🎶 Presentation of the Work

Title

Franz Schubert – Octet in F major, D. 803
Instrumentation: 2 violins, viola, cello, double bass, clarinet, horn, bassoon
Tuning: A = 430 Hz


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Context

Composed in 1824, Franz Schubert’s Octet in F major stands as one of the grandest chamber works of the early 19th century. Modeled after Beethoven’s Septet, it expands the form with richer instrumentation and near-symphonic breadth, lasting almost an hour.

The work unfolds in six movements, balancing lyrical depth, rhythmic vitality, and orchestral color:

1. Adagio – Allegro: solemn introduction leading into a brilliant Allegro.


2. Adagio: contemplative, profound, and emotionally expansive.


3. Scherzo: energetic, playful contrasts.


4. Andante: intimate and lyrical in character.


5. Menuetto: elegant, with a classical dance-like feel.


6. Andante molto – Allegro: dramatic finale, full of tension and brilliance.



While inspired by Beethoven, the Octet is unmistakably Schubertian: full of lyrical melodies, harmonic richness, and expressive breadth, it foreshadows the maturity of his later chamber and symphonic works.


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Recording

Historical performance practice: all instruments are original or period replicas, tuned to A=430 Hz, recreating the soundscape of early 19th-century Vienna.

Instruments:

Strings: violin, viola, cello, and double bass strung in “classical” setup.

Clarinets: William McColl, using German instruments ca. 1820.

Natural horn: RJ Kelley, with crooks dating from around 1820.

Bassoon: Charles Kaufman, reproduction of an instrument from ca. 1800.


Artistic direction: led by violinist Monica Huggett, who also plays first violin.




Label: Pandora Records (founded in 1973, active for about ten years).

Particularity: The Pandora archives, including this disc, are now freely available for download through the Ibiblio server at the University of North Carolina, under an Electronic Frontier Foundation (EFF) license.

Preservation: Some masters come from the original tapes, while others were digitized from LPs when tapes were missing.


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The Artists

Violin I: Monica Huggett (director, soloist)

Violin II: Rob Diggins

Viola: Vicki Gunn

Cello: Sarah Freiberg

Double Bass: Curtis Daily

Clarinet: William McColl

Horn: RJ Kelley

Bassoon: Charles Kaufman



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Anecdote

The Octet was commissioned by Count Ferdinand Troyer, an accomplished amateur clarinetist who wanted a work in the spirit of Beethoven’s Septet. Schubert responded with a piece that is both intimate and monumental, making it one of the largest-scale chamber works of the 19th century. Though written for a private performance, it anticipates Schubert’s later symphonic style and served as a creative laboratory for his orchestral writing.


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Schubert - Octuor en fa maj  D803


🎶 Presentation of the Work

Title

Camille Saint-Saëns – Sonata for Bassoon and Piano, Op. 168 (1921)
Performers: Arthur Grossman (bassoon), Joseph Levine (piano)


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Context

Composed in 1921, the final year of his life, Camille Saint-Saëns (1835–1921) wrote this sonata at the age of 86. It belongs to a cycle of three wind sonatas (for oboe, clarinet, and bassoon), conceived as a musical testament to enrich the repertoire of instruments that were often overlooked in chamber music.

The Bassoon Sonata is remarkable for its clarity of form and elegant character, blending classical balance with lively, graceful writing. Despite his advanced age, Saint-Saëns retained a freshness of invention and a melodic charm that make this piece particularly endearing.

The three-movement structure highlights this balance:

1. Allegretto moderato – a clear and graceful opening.


2. Allegro scherzando – lively, witty, and playful, showcasing the agility of the bassoon.


3. Adagio – Allegro moderato – a contrasting finale, beginning in a contemplative mood before closing with controlled exuberance.




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Recording

Performers:

Bassoon: Arthur Grossman, a distinguished soloist and pedagogue, widely recognized for promoting both contemporary and classical bassoon repertoire.

Piano: Joseph Levine, chamber pianist and experienced accompanist.


Particularity: This interpretation highlights the elegance and subtlety of Saint-Saëns’ late style, where the bassoon’s lyrical voice is delicately supported by the piano’s refined accompaniment.



Label: Pandora Records (founded in 1973, active for about ten years).

Particularity: The Pandora archives, including this disc, are now freely available for download through the Ibiblio server at the University of North Carolina, under an Electronic Frontier Foundation (EFF) license.

Preservation: Some masters come from the original tapes, while others were digitized from LPs when tapes were missing.


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Anecdote

In the last months of his life, Saint-Saëns declared it his mission to “enrich the repertoire of neglected instruments.” With these three sonatas (for oboe, clarinet, and bassoon), he offered both a tribute to the French classical tradition and a gift to future generations of musicians. The Bassoon Sonata was completed in Algiers, where the composer had retired, and was published shortly before his death.


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Camille Saint-Saëns – Sonata for bassoon and piano Op. 168 (1921)



🎶 Presentation of the Recording

Work & Artists

Sir James Galway, flute
with the Carion Wind Quintet

Context

Sir James Galway, often referred to as “The Man with the Golden Flute,” is one of the most celebrated flautists of the 20th and 21st centuries, admired worldwide for his lyrical tone, dazzling technique, and ability to bring classical as well as contemporary music to a wide audience.

The Carion Wind Quintet, founded in Denmark, is known for its innovative stage presence and refined interpretations of wind repertoire. Their collaboration with Galway represents a meeting of virtuosity and modern ensemble artistry, offering both freshness and authority.

Recording

Venue: Concertsal of Danish Radio, Copenhagen.

Date: November 11, 2005, 8:00 PM.

Nature: Live performance – capturing the energy, spontaneity, and authentic interaction between Galway and the Carion ensemble.

Unlike studio recordings, this concert preserves the immediacy of the moment, highlighting the nuances of live chamber music dialogue and the warm resonance of the Danish Radio Concert Hall.

Particularity

This performance stands out not only because it unites a legendary soloist with a leading Nordic chamber ensemble, but also because it showcases the vitality of live interpretation—an art where risk and reward merge to create an unforgettable musical experience.


Nielsen Sir James Galway, flute with the Carion Wind Quintet



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🎶 Presentation of the Recording

Work & Artists

Antonín Dvořák – Romance No. 1, Op. 75

Violin: Roxana Pavel Goldstein

Piano: Monica Pavel


This performance is part of a broader recording project by the Goldstein Duo (Roxana Pavel Goldstein – violin; Elias Goldstein – violin & viola). In this album, they are occasionally joined by Monica Pavel (piano) and the DePaul Symphony Orchestra under the direction of Cliff Colnot.


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Context

Antonín Dvořák (1841–1904) composed his Four Romantic Pieces, Op. 75, in 1887. Originally written for two violins and viola, they were later arranged by the composer himself for violin and piano. The Romance No. 1 in this set is characterized by its melodic charm, lyrical warmth, and intimate dialogue between the soloist and accompaniment.

This piece, while modest in scale, reflects Dvořák’s gift for songlike melody and his ability to balance simplicity with emotional depth. It stands as a perfect example of his chamber writing, bringing a personal and poetic voice distinct from his symphonic works.


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Recording

Label: Pandora Records (founded in 1973, active for about a decade).

Distribution: Today, the entire Pandora archive, including this disc, is freely available for download via the Ibiblio server at the University of North Carolina, under an Electronic Frontier Foundation (EFF) license.

Preservation: Some tracks derive directly from original master tapes, while others were digitized from LPs when masters were unavailable.


This careful preservation makes it possible to rediscover rare chamber music performances that might otherwise have been lost.


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Album Contents

Directory: 2strings (violin + violin, or violin + viola)

1. Handel–Halvorsen – Passacaglia for violin and viola


2. Telemann – Sonata No. 1 for 2 violins – Movement I: Dolce


3. Movement II: Allegro


4. Movement III: Largo


5. Movement IV: Vivace


6. Corelli – Sonata No. 11 for 2 violins and continuo – Movement I: Adagio


7. Movement II: Allemanda (Presto)


8. Movement III: Giga


9. Sarasate – Navarra, Op. 33 for two violins and orchestra



Directory: 1string (violin or viola + piano)

10. Dvořák – Romance No. 1, Op. 75 for violin and piano (R. Goldstein & M. Pavel)


11. Dvořák – Romance No. 2, Op. 75 for violin and piano (R. Goldstein & M. Pavel)


12. Dvořák–E. Goldstein – Humoreske for viola and piano (E. Goldstein & M. Pavel)


13. Rachmaninoff–Press – Vocalise, Op. 34 No. 14 for violin and piano (R. Goldstein & M. Pavel)




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Particularity

The Goldstein Duo recording embodies the very essence of chamber music intimacy: two family musicians exploring the repertoire for string duo and violin/viola with piano, supported by careful collaboration with Monica Pavel and, in one case, orchestra.

The Pandora Records release, preserved and shared under open access, represents not only an artistic achievement but also a cultural legacy, allowing this delicate interpretation of Dvořák’s Romance No. 1 to continue reaching new audiences in the digital age.


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Dvorak -  Romance Number 1 Opus 75 for violin and piano



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Presentation

Antonín Dvořák’s Romance Number 2 in F minor, Op. 75 for violin and piano is part of a pair of lyrical miniatures composed in 1879, originally written for violin and orchestra and later adapted for violin with piano accompaniment. Characterized by its warm melodic line and intimate character, the second Romance offers a contemplative counterpart to the first, blending Slavic lyricism with classical refinement.

In this recording, the piece is performed by violinist Roxana Pavel Goldstein, accompanied on piano by Monica Pavel. Their interpretation highlights the work’s tender phrasing and expressive nuances, capturing both its delicate intimacy and its emotional depth.

Recording

Label: Pandora Records (founded in 1973, active for about ten years).

Particularity: The Pandora archives, including this recording, are now freely available for download via the Ibiblio server at the University of North Carolina, under an Electronic Frontier Foundation (EFF) license.

Preservation: Some recordings were preserved from original master tapes, while others—such as this one—were digitized from LPs when masters were unavailable, ensuring accessibility to a broader audience.


This performance belongs to the 1string collection in the Pandora catalog, dedicated to works for violin and piano or viola and piano. It stands as a testament to the artistry of the Goldstein musicians and to the preservation efforts that allow such intimate chamber works to continue reaching listeners today.


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Dvorak - Romance Number 2 Opus 75 for violin and piano


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Presentation

Antonín Dvořák’s Humoresque No. 7 in G-flat major, Op. 101 is among his most beloved miniatures, instantly recognizable for its lyrical charm and melodic simplicity. Originally composed for piano in 1894, the piece was later arranged in countless versions for different instruments. In this particular adaptation, violist Elias Goldstein created his own transcription for viola and piano, bringing out the instrument’s warm timbre and expressive depth.

An interesting anecdote is that Humoresque No. 7 became so widely popular in America during the early 20th century that passengers on trains running between New York and Chicago often sang the tune to the rhythm of the train wheels—earning it the nickname “the Pullman Song.” Elias Goldstein’s version revives this spirit of universality, giving the viola a lyrical voice perfectly suited to the piece’s bittersweet elegance.

In this recording, Elias Goldstein is accompanied on piano by Monica Pavel, whose sensitive touch enhances the viola’s warm resonance and highlights the playful yet nostalgic character of the music.

Recording

Label: Pandora Records (founded in 1973, active for about ten years).

Particularity: The Pandora archives, including this recording, are now freely available for download via the Ibiblio server at the University of North Carolina, under an Electronic Frontier Foundation (EFF) license.

Preservation: Some recordings were preserved from original master tapes, while others were digitized from LPs when masters were missing. This ensured the safeguarding of unique interpretations such as this one.


This adaptation belongs to the 1string section of the Pandora catalog, dedicated to works for violin and piano or viola and piano. It stands both as a tribute to Dvořák’s universal melodic gift and to Elias Goldstein’s creative artistry in bringing fresh life to a timeless piece.


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Dvorak - Humoreske for viola and piano

Vivaldi – Andante from the Concerto in C Major for Oboe and Orchestra, F. 7/6

Recording

Performer: Edino Biaggi, oboe

Label: Pandora Records (founded in 1973, active for about ten years).


Background
The Pandora archives, including this recording, are now freely available for download through the Ibiblio server at the University of North Carolina, under an Electronic Frontier Foundation (EFF) license. Some tracks were preserved from the original master tapes, while others were digitized from LPs when tapes were no longer available.

About the music
The Andante from Vivaldi’s Concerto in C Major, F. 7/6, offers a moment of lyrical calm and expressive beauty. Unlike the lively outer movements, this slow section unfolds like a wordless aria, showcasing the oboe’s warm and singing tone against a gentle orchestral accompaniment.

Anecdote
Although Vivaldi composed over 500 concertos, only a small number feature the oboe, which was a relatively new instrument in Venice at the time. It is believed that many of these works were performed at the Ospedale della Pietà, where Vivaldi taught. Visitors from across Europe often marveled at the young musicians’ skill, and this Andante may well have been one of those intimate musical treasures.


Vivaldi – Andante from the concerto in C major for oboe and orchestra

🎼 Handel – Concerto for Organ and Orchestra in B-flat Major, Op. 7 No. 1, HWV 306

Recording

Performer: David Schrader, organ

Movements: 1–3

Label: Pandora Records (active from 1973 to the mid-1980s).


Background
This recording belongs to the historic Pandora Records collection, now preserved and made freely accessible through the Ibiblio server at the University of North Carolina under an Electronic Frontier Foundation (EFF) license. Some works were archived from original master tapes, while others were digitized from LPs when necessary.

About the music
Handel’s Op. 7 Organ Concertos were composed in the 1730s and often performed as interludes during his oratorios in London. The Concerto in B-flat Major, HWV 306 is one of the brightest of the set, blending grandeur with playful dialogue between the solo organ and the orchestra. The first three movements alternate stately elegance with bursts of rhythmic vitality, giving the organ both a virtuosic and lyrical role.

Anecdote
Handel himself often performed these concertos as the soloist. Eyewitnesses reported that he sometimes improvised entire movements, delighting audiences with unexpected musical turns. It’s possible that the versions we hear today differ greatly from the dazzling improvisations that Londoners first experienced in candlelit theaters.


Handel – Concerto for organ and orchestra in B-flat myajor, Op. 7 No. 1, HWV 306

Recording

Performers: Stephen Balderson (cello) with Advent Chamber Orchestra

Movement: Complete concerto (Movements 1–3)

Archive info: From Pandora Records / Al Goldstein Archive, performed October 2008 


Background
This recording is part of the Pandora Records (active circa 1973–mid-1980s) collection, now openly accessible via the Ibiblio server at the University of North Carolina, under an Electronic Frontier Foundation (EFF) license. Some recordings are sourced from master tapes; others, like this one, were digitized from LPs when required .

About the Music
Vivaldi’s Cello Concerto in G major, RV 413 unfolds across three movements—Allegro, Largo, Allegro—blending virtuosic energy with lyrical grace. It’s considered one of Vivaldi’s most forward-looking works for cello, foreshadowing the style of Boccherini. Notable features include a lively sixteenth-note bass that drives the ritornellos, echo motifs, and an aria-like second movement introduced by unison strings .

Anecdote
Because of the concerto’s imaginative texture and its forward-looking character, musicologists suggest Vivaldi may have composed it specifically with the cello’s evolving virtuosic potential in mind—perhaps even for a five-stringed cello or an instrument with an extended upper range. This forward-thinking aspect gives the piece a freshness unusual in his cello works .


Vivaldi – Cello concerto in G major, RV 413 (excerpt)

Bernhard Heiden – Quintet for Horn and String Quartet

Recording

Horn: Christopher Leuba

Philadelphia String Quartet: Veda Reynolds & Irwin Eisenberg (violins), Alan Iglitzin (viola), Charles Brennand (cello)

Source: LP Oly 102, acquired by Pandora Records from the University of Washington Press

Engineer: Glenn White (original recording)

Archive note: This transfer comes from the original LP. While there are a few surface defects typical of vinyl, the performance is described by Pandora Records as “first rate.”


About the Work
Bernhard Heiden (1910–2000), a student of Paul Hindemith, was known for his clear and balanced neoclassical style. His Quintet for Horn and String Quartet blends the noble, warm timbre of the horn with the intimate sonorities of a string quartet, creating music that is lyrical, contrapuntal, and elegantly structured.

Anecdote
Born in Frankfurt and forced to emigrate to the United States in 1935, Heiden became not only a respected composer but also a beloved teacher at Indiana University. His quintet reflects the architectural solidity of Hindemith’s influence, but with a more lyrical and personal voice. Rarely recorded, this Pandora Records transfer is an especially valuable document of his chamber music.


🎶 Bernhard Heiden – Quintet for Horn and String Quartet

Ludwig van Beethoven – The Creatures of Prometheus (excerpt, arranged for Basset Horn)

Recording

Performer: William McCall, basset horn

Label: Pandora Records (founded in 1973, active for about ten years)

Archive: Freely available today through the Ibiblio server at the University of North Carolina, under an Electronic Frontier Foundation (EFF) license.

Preservation note: Some Pandora masters were taken from original tapes, while others were digitized from LPs when tapes were missing.


About the Work
Beethoven’s Creatures of Prometheus (1801) was a ballet written for the choreographer Salvatore Viganò. Though the complete ballet is rarely performed today, its overture and thematic material (especially the finale) are more familiar, since Beethoven reused the main theme in his famous Eroica Symphony (Symphony No. 3).

Anecdote
The basset horn, a cousin of the clarinet with a darker and more velvety tone, was one of Mozart’s favorite instruments. Beethoven himself did not specifically write for it in Prometheus, but this arrangement highlights how the music gains a unique color when played on this rare instrument. William McCall’s interpretation brings out both the lyrical qualities and the classical clarity of Beethoven’s writing.

Beethoven_Prometheus_Creatures.mp3

J. S. Bach – Fantasy in C Minor (Track 1)
This recording features a fantasy in C minor composed by Johann Sebastian Bach. The performance is played on a harpsichord modeled after a one-manual instrument built by Hans Moerman in Antwerp in 1584. The instrument was carefully restored by Frank Hubbard in Boston in 1963, with working plans provided by Lutz Bungart of the Instrument Workshop. Built in the early seventies by Al Goldstein, then a partner of Lutz Bungart, the harpsichord features two manuals in the traditional 8x8x4 disposition, allowing for a rich palette of colors and textures that beautifully enhance Bach’s intricate writing.

Anecdote
It is said that Al Goldstein, fascinated by the craftsmanship of historical instruments, considered this harpsichord not only a musical tool but also a work of art. He often remarked that each key carried both sound and history, connecting the performer directly to centuries of tradition.


J. S. Bach – Fantasy in C Minor - flemmish harpsichord

Presentation

Antonio Vivaldi – Andante from the Concerto in C Major for Oboe and Orchestra, F. VII/6
Performed by Edino Biaggi (oboe) and the Advent Chamber Orchestra, under the direction of Roxanna Pavel Goldstein (Musical Director) and Elias Goldstein (Managing Director).

This recording is part of the 2005–2006 season selections, released through Pandora Records. Founded in the 1970s as a small, independent classical label, Pandora Records later became one of the first to digitize and distribute its entire catalog freely online. Its pioneering effort preserved numerous LP recordings—despite the occasional vinyl imperfections—and made them accessible worldwide, long before the streaming era.

The Andante from this concerto exemplifies Vivaldi’s talent for creating lyrical slow movements that highlight the oboe’s expressive, almost vocal qualities.

🎼 Anecdote

Vivaldi composed many concertos for the talented young women of the Ospedale della Pietà in Venice. The oboe was still a relatively new instrument in Italy, and Vivaldi helped secure its place as a solo instrument in the Baroque concerto tradition.

Antonio Vivaldi – Andante from the Concerto in C Major for Oboe and Orchestra, F. VII/6

Presentation

Antonio Vivaldi – Credo in E minor, RV 591: Crucifixus
Selections from the Advent Chamber Orchestra concert of December 2006.

Soprano Soloist: Cristina Piccardi

Advent Choir, directed by Gabriel Pavel

The Advent Chamber Orchestra

Roxanna Pavel Goldstein, Musical Director

Elias Goldstein, Managing Director



This moving performance highlights the central section Crucifixus of Vivaldi’s Credo, one of his few large-scale sacred works. Written around 1715 for the Ospedale della Pietà in Venice, the piece combines the solemnity of liturgical tradition with Vivaldi’s unmistakable dramatic flair.

The recording comes from the Advent Chamber Orchestra’s 2006 season, an ensemble that collaborated frequently with distinguished soloists and choirs. Preserved by Pandora Records, this document reflects the mission of bringing high-quality performances of Baroque and Classical repertoire to wider audiences.

Crucifixus de Vivaldi

Presentation

Wolfgang Amadeus Mozart – Vesperae solennes de confessore, K. 339: Laudate Dominum
Selections from the Advent Chamber Orchestra concert of December 2006.

Soprano Soloist: Cristina Piccardi

Advent Choir, directed by Gabriel Pavel

The Advent Chamber Orchestra

Roxanna Pavel Goldstein, Musical Director

Elias Goldstein, Managing Director



The Laudate Dominum, one of Mozart’s most beloved sacred arias, is the fifth movement of his Vesperae solennes de confessore (1780). Written in Salzburg for liturgical use, the piece is admired for its serene lyricism and luminous interplay between soloist, choir, and orchestra.

This performance, recorded during the 2006 Advent season, showcases the chamber ensemble’s dedication to bringing timeless sacred repertoire to a broad audience. Preserved by Pandora Records, it continues the tradition of making important live performances freely accessible.

Mozart: Laudate Dominum

Presentation

George Frideric Handel – Messiah, HWV 56: “How Beautiful Are the Feet”
Selections from the Advent Chamber Orchestra concert of December 2006.

Soprano Soloist: Cristina Piccardi

Advent Choir, directed by Gabriel Pavel

The Advent Chamber Orchestra

Roxanna Pavel Goldstein, Musical Director

Elias Goldstein, Managing Director



“How Beautiful Are the Feet” is a lyrical aria from Handel’s Messiah (1741), usually sung by soprano or alto with orchestral accompaniment. Its serene melody and tender expression set to words from Isaiah 52:7 celebrate the message of peace and salvation.

This performance from the Advent season 2006 captures the spiritual depth of Handel’s music, with Cristina Piccardi’s luminous voice supported by the Advent Chamber Orchestra. Preserved and distributed by Pandora Records, it offers an intimate glimpse into the ensemble’s dedication to presenting timeless sacred repertoire.

George Frideric Handel – Messiah, HWV 56: “How Beautiful Are the Feet”

Antonio Vivaldi – Concerto in D minor for Two Violins, Cello, and Orchestra, RV 565 (L’Estro Armonico, Op. 3 No. 11)

Performers

Soloists: two violins and cello (uncredited in this recording)

The Advent Chamber Orchestra

Roxanna Pavel Goldstein – Musical Director

Elias Goldstein – Managing Director


Overview

This concerto, part of the famous collection L’Estro Armonico (published in 1711), is among Vivaldi’s most celebrated works.
It highlights the lively dialogue between two violins, supported by the cello, alternating brilliant virtuosity with lyrical passages.
Its innovative concertante style had a strong influence on J. S. Bach and other Baroque composers.

Structure

1. Allegro – Fugal entries, with tight interplay between the violins and the orchestra.


2. Largo e spiccato – A more contemplative atmosphere, marked by detached rhythmic writing.


3. Allegro – A vigorous and energetic finale, featuring intense dialogue among the soloists.



📀 Pandora Records Source

This recording comes from the archives of Pandora Records, a pioneering label in the early digital distribution of classical music.

Pandora Records was active during the 1970s–80s, producing a wide collection of Baroque and Classical works.

Its catalog has been made freely available online through music.ibiblio.org, in collaboration with the University of North Carolina.

Antonio Vivaldi – Concerto in D minor for Two Violins, Cello, and Orchestra, RV 565 (L’Estro Armonic

Georg Philipp Telemann – Sonata in E minor for Flute and Harpsichord

Performers

Alex Murray – traverso (flute by Goulding, late 1700s, pitch A=440)

Martha Goldstein – harpsichord


Instruments & Historical Context

The harpsichord, built in 1600 by Pisarensis of Pisa, belongs to Mr. and Mrs. Philip Padelford and is preserved at the University of Washington School of Music.

It was restored by Lutz Bungart and Glenn White, and lent for this recording by Terry Moore, Director of Music at the University of Washington at the time.

All tuning is mean-tone temperament, giving the performance a historically authentic color.

The basso continuo was realized by Martha Goldstein.


Overview

This sonata, typical of Telemann’s elegant chamber music style, highlights the lyrical dialogue between the traverso and harpsichord.
Rich in expressive melodies and subtle counterpoint, the work balances virtuosity with graceful ornamentation, exemplifying the refined aesthetic of early 18th-century German chamber music.

📀 Pandora Records Source

This recording was originally released by Pandora Records, a label dedicated to making historically informed performances widely available. Today, these recordings are preserved and accessible through music.ibiblio.org in partnership with the University of North Carolina.

Georg Philipp Telemann – Sonata in E minor for Flute and Harpsichord

Louis Spohr – Sechs Deutsche Lieder, Op. 103: No. 6 "Wach auf!"

This recording stands as a timeless testament to the artistry of two departed masters: the Catalan soprano Montserrat Alavedra (1945–1991) and the American clarinetist William McColl (1933–2024).
Originally released by the pioneering Pandora Records, this performance captures a rare moment of musical intimacy. In Spohr’s Sechs Deutsche Lieder, the voice and clarinet are treated as equal partners, engaging in a dialogue that demands both virtuosity and deep sensitivity. "Wach auf!" (Wake Up!), the final song of the cycle, is a vibrant call to life—a poignant reminder of the vitality these artists brought to their craft.
The interpretation is historically informed, featuring McColl performing on an original Mollenhauer clarinet (c. 1825) alongside Joseph Levine on a period fortepiano. This dedication to authentic sonority allows listeners to hear the work exactly as Spohr imagined it: a warm, wooden interplay between the soprano’s crystalline timbre and the clarinet’s rich, vocal quality.
Preserved in the ibiblio digital archives under the EFF Open Audio License, this recording ensures that the collaborative spirit of Alavedra and McColl continues to resonate, waking new generations of listeners to the beauty of their art.

Credit
Œuvre : Louis Spohr - Sechs Deutsche Lieder, Op. 103 : No. 6 "Wach auf!"
Interprètes : Montserrat Alavedra (Soprano), William McColl (Clarinette), Joseph Levine (Fortepiano)
Source : Pandora Records / Al Goldstein Collection (hébergé par music.ibiblio.org)
Licence : EFF Open Audio License

Spohr: Sechs Deutsche Lieder

Wach auf! (Sechs Deutsche Lieder, Op. 103, No. 6)

Spohr - Sechs Deutsche Lieder - Wach Auf!

source : http://freemusicarchive.org/music/Montserrat_Alavedra_William_McColl_Joseph_Levine/Voice_Clarinet_Fortepiano/#

Voice, Clarinet, Fortepiano: Romantic Songs and Old Instruments
- Soprano Montserrat Alavedra performs German and French songs.
- William McColl performs on a Bb clarinet made by Mollenhauer in Fulda, Germany about 1820 - 1825.
- Joseph Levine performs on a fortepiano that was a copy of a Mozart-era instrument.

This album is a memorium to the memory of Montserrat and Joseph.

Voice, Clarinet, Fortepiano by Montserrat Alavedra, William McColl, Joseph Levine is licensed under a Attribution-ShareAlike License.

Voice, Clarinet, Fortepiano

Spohr - Sechs Deutsche Lieder - Das Heimliche Lied

Spohr - Sechs Deutsche Lieder - Wiegenlied

Spohr - Sechs Deutsche Lieder - Sehnsucht

Spohr - Sechs Deutsche Lieder - Zwiegesang

Spohr - Sechs Deutsche Lieder - Sei Still Mein Herz

Meyerbeer - Hirtenlied

Schubert - Der Hirt auf dem Felsen

Hi, I'm Jean-Charles.
I'm a music lover, but you probably guessed that if you're here.
I am proud to be a "Ch'ti". For those who don't know, it means I come from Northern France, a land known for its values of human warmth, simplicity, and friendliness. ( See more "A stranger coming to the North cries twice: once when he arrives, and once when he leaves." The Arrival https://youtu.be/gZrI7ytuqmE?si=zLrLz-9kWaPKa3D0 The Departure https://youtu.be/te6f7yrt_5k?si=z-qc_xB0WHhlWRwW ). That said, I was "adopted" by the Jura region. It was there, through the Besançon International Competition for Young Conductors, that I discovered classical music from a fascinating angle that deeply left its mark on me.
I love the diversity of music and cultures. I have a special affection for the recorder, opera, piano, zither, oboe, clarinet, trumpet, pan flute, and harmonica.
My goal here, through my reposts, is to offer you a journey through time and space.
In this regard, I want to express my immense respect for Pandora Records. Founded by Al Goldstein, this visionary label chose, after ceasing operations, to release its entire back catalog under an open license. A large part of the tracks I share here comes from this invaluable archive. Thanks to their generosity, we can rediscover these historical interpretations (often on period instruments) that might otherwise have been forgotten.
​A heartfelt thank you to all of you—far more than just seven—who paused your journey on SoundCloud to like, repost, and comment on the music of Pandora Records. In the hustle and bustle of daily life, taking the time to stop is a rare gift that we truly cherish. Thank you a thousand times over.
​As for those who passed by without lingering, we hold no grudge; it is the common lot of modern life's frantic pace. Much like those 1,097 hurried commuters on January 12, 2007, everyone follows their own tempo. My sincerest apologies to all the musicians I have personally passed by without stopping, being one of those thousand myself. Thank you for offering music along my path.
​Lien de la vidéo : https://www.youtube.com/watch?v=hnOPu0_YWhw
Thank you all for the talent you share here.
Wishing you great listening and happy discoveries!
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Jean-Charles B

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