Habanera is the popular name for the aria "L'amour est un oiseau rebelle" (Love is a rebellious bird) 

Quand je vous aimerai?
Ma foi, je ne sais pas,
Peut-être jamais, peut-être demain.
Mais pas aujourd'hui, c'est certain!

[sung]
L'amour est un oiseau rebelle
Que nul ne peut apprivoiser,
Et c'est bien en vain qu'on l'appelle,
S'il lui convient de refuser.
Rien n'y fait, menace ou prière;
L'un parle bien, l'autre se tait,
Et c'est l'autre que je préfère;
Il n'a rien dit mais il me plaît.

(L'amour est un oiseau rebelle) L'amour...
(Que nul ne peut apprivoiser,) L'amour...
(Et c'est bien en vain qu'on l'appelle,) L'amour...
(S'il lui convient de refuser.) L'amour...

L'amour est l'enfant de Bohême,
Il n'a jamais, jamais connu de loi;
Si tu ne m'aimes pas, je t'aime;
Si je t'aime, prends garde à toi! (Prends garde à toi!)
Si tu ne m'aimes pas,
Si tu ne m'aimes pas, je t'aime; (Prends garde à toi!)
Mais si je t'aime, si je t'aime;
Prends garde à toi!

(L'amour est l'enfant de Bohême,)
(Il n'a jamais, jamais connu de loi;)
(Si tu ne m'aimes pas, je t'aime;)
(Si je t'aime, prends garde à toi!) (Prends garde à toi!)

Si tu ne m'aimes pas,
Si tu ne m'aimes pas, je t'aime; (Prends garde à toi!)
Mais si je t'aime, si je t'aime;
Prends garde à toi! (Prends garde à toi!)

L'oiseau que tu croyais surprendre
Battit de l'aile et s'envola.
L'amour est loin, tu peux l'attendre;
Tu ne l'attends plus, il est là.
Tout autour de toi, vite, vite,
Il vient, s'en va, puis il revient.
Tu crois le tenir, il t'évite,
Tu crois l'éviter, il te tient!

(Tout autour de toi, vite,) L'amour
(Il vient, s'en va, puis il revient.) L'amour
(Tu crois le tenir, il t'évite,) L'amour
(Tu crois l'éviter, il te tient!) L'amour

L'amour est l'enfant de Bohême,
Il n'a jamais, jamais connu de loi;
Si tu ne m'aimes pas, je t'aime;
Si je t'aime, prends garde à toi! (Prends garde à toi!)
Si tu ne m'aimes pas,
Si tu ne m'aimes pas, je t'aime (Prends garde à toi!)
Mais si je t'aime, si je t'aime
Prends garde à toi!

(L'amour est l'enfant de Bohême,)
(Il n'a jamais, jamais connu de loi;)
(Si tu ne m'aimes pas, je t'aime;)
(Si je t'aime, prends garde à toi!) (Prends garde à toi!)

Si tu ne m'aimes pas,
Si tu ne m'aimes pas, je t'aime (Prends garde à toi!)
Mais si je t'aime, si je t'aime
Prends garde à toi! (Prends garde à toi!)

Andreas Scholl ~ Habanera ~Carmen

This is my first take of the prelude to the chorale 'Ich ruf' zu dir, Herr' or 'I call to thee, Lord' from the  'Orgelbüchlein' (BWV 599-644) - the 'Little Organ Book'. 

Johann Sebastian Bach's 'Orgelbüchlein' is a collection of 46 choral preludes written for organ. All but three were composed during 1708-1717, a period when Bach was court organist at the ducal court in Weimar. 

Ferruccio Busoni (1866-1924) was an Italian composer, pianist, conductor, and writer. His contemporaries, musicians such as Brahms, Anton Rubinstein, and Liszt would colour Busoni's musical direction. Liszt would become a key influence for Busoni, especially after attending one of Liszt's recitals in Vienna and subsequently meeting him. Liszt's often relentless pursuit in transcribing (otherwise impenetrable for solo piano) orchestral and chamber music is clearly mirrored by Busoni's own musical practice. Moreover, when taking into consideration Busoni's admiration for Bach, it is no wonder that transcriptions such as the one for 'Herr, ich ruf' zu dir' came to be. Busoni died in Berlin, and his compositions were neglected many years after his death, but he was remembered as a great virtuoso and arranger of Bach for the piano. 

After listening to Lise de la Salle's version (which is a wonderful rendition), I was compelled to try it out for myself. The piece is deceptively difficult to master. Not unlike other pieces written by J. S. Bach, this choral prelude requires utmost retention in tempo and phrasing. Bach's music generally  shines in the absence of overextension and over-phrasing. The second part of the piece, especially, is very difficult in phrasing due to its seemingly 'square' harmonies. Many renditions of the piece lose the 'cantabile' melody in that section and effectively lose the attention of their audience. The piece resolves itself in a transposed F-key version of the second part's general theme. 

illustration: Dürer, 'Melancolia I', 1514, Staatliche Kunsthalle Karlsruhe

J. S. Bach - Choralvorspiel 'Ich ruf' zu dir, Herr' BWV 639 in F minor (transcr. Busoni)

Puccini: Tosca
Ferruccio Tagliavini / Tito Gobbi / The Covent Garden Opera Chorus / The Covent Garden Orchestra / Francesco Molinari-Pradelli

This June 1955 performance of Puccini’s Tosca marked Renata Tebaldi’s first appearance with the Covent Garden Company. The roles of Cavaradossi and Scarpia were filled by two of Italy’s finest singers, Ferruccio Tagliavini (Cavaradossi) and Tito Gobbi (Scarpia).  All three went on to make memorable studio recordings for Decca, Cetra and EMI. The Times wrote, ‘The performance was tremendous, not only in the singing, which was up to the heroic standards of the past, but in dramatic tension’.

Renata Tebaldi - Puccini- Tosca Act 2 'Vissi d'arte'

http://en.wikipedia.org/wiki/Introduzioni_(Vivaldi)

Filiae Maestae Jerusalem RV 638  II. Sileant Zephyri (Antonio Lucio Vivaldi)

Sonatas Op.9 No.15

15 Aram Khachaturian : Two dances from ballet Gayaneh - Usundara

Tomaso Albinoni - Adagio For Strings And Organ In G Minor

Roman Mints (violin), Katya Apekisheva (piano)

Roman Mints & Katya Apekisheva's new double album of Schnittke's works for violin and piano will be released on Quartz Music at the end of May. This is a preview track.

They celebrate the CD launch with a concert at Kings Place on 26 May: kingsplace.co.uk/RomanMints

Alfred Schnittke - Polka

Live performance during the Dutch Classical Music Meeting on October 15, 2011
Arthur en Lucas Jussen, piano


Arthur en Lucas Jussen: Fantasia in F minor, D. 940 op. Posth.103 by Franz Schubert

Concert in "Michaelskapelle" in Witzenhausen/Germany

"Asturias" by Isaac Albéniz [live in concert]

Glenn Gould - Bach - Goldberg Variations (1964)

Hi!
Thank you for stopping by. 

I use SoundCloud as a platform to share my recordings, be it covers of various soundtracks, or classical pieces that I interpret myself. 

My long-term goal is to expand into recording several other instruments as well; guitar, and perhaps violin.

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J. S. Bach - Choralvorspiel 'Ich ruf' zu dir, Herr' BWV 639 in F minor (transcr. Busoni)

Llendryon

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