Name: Beethoven Ninth Symphony: iii. Adagio molto e cantabile by necmusic
Duration: 14 min 9 s
Description: Hugh Wolff leads the New England Conservatory Philharmonia and Concert Choir and the Tufts Chamber Singers in a performance of Beethoven's Symphony no 9 in D minor "Ode to Joy." Recorded live in Jordan Hall, Boston February 12, 2014

Equus (+SSA)

recorded on 5. July 2023
Steinway & Sons #370570
First Take Master1
Music composed by Joni Mitchell 

Both Sides Now

"Gelido in ogni vena"
Giovanni Battista Ferrandini, "Siroe"
Libretto: Pietro Metastasio

Countertenor + piano accompagniment: Philippe Jaroussky
Live on France Inter Nov 2023
Cosroes' aria (Act III, scene V)

Gelido in ogni vena
Scorrer mi sento il sangue,
L'ombra del figlio esangue
M'ingombra di terror.

E per maggior mia pena
Vedo che fui crudele
A un'anima innocente,
Al core del mio cor.

**
I feel my blood congealing run 
Thro' ev'ry vein, in ev'ry part, 
And the pale ghost of my dear son,
Strikes dread and terror to my heart. 

And still to add to greater woe,
The loyal innocent I've slain,
Of cruelty at length I know,
I, on myself, have fix'd the stain. 

Gelido in ogni vena" is an aria from a libretto by Pietro Metastasio*. It appears in two distinct operas: "Siroe" and "Farnace". (Farnace: 1927, "Gelido in ogni vena" was set to music by almost every composer in Baroque and beyond. The approaches are very different and interesting to hear. They range from Vinci's approach which is more pleasing than it is gripping to Vivaldi's soul-crushing benchmark of what a baroque aria can be.

The fellow Venetian Giovanni Battista Ferrandini (*1710) has a yet different approach. It's not quite clear when his version was composed, only that it happened before 1758. The dread that befalls Cosroe when he imagines seeing his deceased son whom he (justly) feels he has wronged that makes his blood run cold with fear and guilt, Ferrandini illustrates with fragile diminished jumps and subtle harmonic shifts and chromatics as Cosroe's world is coming apart at the seams, shifting and shaking while he tries to somehow smoothen the cracks and live on. More personal and intimate than Vivaldi's, Ferrandini's interpretation is sublime by its own merit.

*) (this seems more likely even though some sources credit Antonio Maria Lucchini, but it seems that his version didn't contain "Gelido ...")

The full radio podcast is still available here: 
https://www.radiofrance.fr/franceinter/podcasts/le-grand-atelier/le-grand-atelier-du-dimanche-05-novembre-2023-5102248

Translation Source: Siroe, re di Persia. Drama per musica, etc.
1736, British library
https://www.google.de/books/edition/Siroe_re_di_Persia_Drama_per_musica_etc/NnkCXEdNB4wC?hl=de&gbpv=0

I believe the publication of this excerpt fulfils the criteria of "fair us", discussion on study. Should you object against this being online, drop me a line and I'll remove it immediately.

Philippe Jaroussky sings "Gelido in ogni vena" from Giovanni Battista Ferrandini's "Siroe"

THOMAS GOULD Live in Riga
Sinfonietta Riga

1-3. Violin Concerto in D, Op. 61 - Ludwig van Beethoven
	I. Allegro ma non troppo
	II. Larghetto
	III. Rondo (Allegro)

4. The Lark Ascending - Ralph Vaughan Williams  

Produced by Raphaël Mouterde
Executive producer Dave Stapleton

‘Live in Riga’ is the major new album from the celebrated 31 year old British violinist Thomas Gould.  Recorded live in concert with Sinfonietta Riga on April 11th 2014 at the Great Guild Hall in Riga, Latvia, it confirms Gould’s enormous potential as one of the most inventive and colourful instrumentalists of his generation.  Gould is no ordinary classical musician but one of a new generation who refuse to be defined by a single genre.  He has developed impressive jazz credentials, but it is in this environment as soloist/director of classical repertoire where he really excels.  The Times recently described Gould as “intent on becoming the Nigel Kennedy of his generation”.  Gould, however, is incomparably his own musician.  Bold and courageous enough to forge his own path and follow his singular vision, he steps outside the footsteps of the greats.

‘Live in Riga’ is a defining album for Gould, his first disc of a three-album deal with forward-thinking British jazz and classical record label Edition Classics.  Over the last decade he has been in demand as a soloist with major orchestras worldwide, including the Royal Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Hallé Orchestra and LA Phil New Music Group.  He is also much in demand as a leader/director, working with Britten Sinfonia, Aurora Orchestra, Mahler Chamber Orchestra and the Australian Chamber Orchestra’s ACO2, but it’s when he brings these disciplines together that the magic happens.  As Gould explains, “It means that everyone plays in a more engaged way. There is a group commitment to making it work, so the process is much more collaborative than when working with conductor.”

Sinfonietta Riga is an orchestra with a story to tell.  Formed in 2006, their vision is as bold as Gould’s.  Equally happy to play in concert dress or T-shirts they are intent on building new audiences for the music while reaching for the highest artistic standards.  Their collaboration is a perfect match and a unique experience for both the orchestra and for Gould.  This live concert recording bears witness to this special musical symbiosis.

To release an album featuring Beethoven’s Violin Concerto and Vaughan Williams’s The Lark Ascending is a bold decision.  As two cornerstones of the violin repertoire, there are plenty of performances to compare, but Gould’s versions demonstrate a brilliance of tone and colour that demands attention.  His flexibility and breadth of musical interests is fully evident.  Gould’s playing has the clarity you would expect from any major performer but radiates a freedom in its expression as though improvised with an immediate elegance and poise.

For Gould it’s all about achieving the right balance.  Whether it’s jazz or classical, written or improvised, as soloist or director, Gould is right in the eye of the storm.  If the dark clouds gathering in the wider music world imply that the days of the single-minded virtuoso are coming to an end; if to succeed in that brave new world we need to attract more diversity and brighter colours, then in Thomas Gould we may have found the lightning conductor to spark a new generation.


THOMAS GOULD Beethoven - Violin Concerto In D, Op.61 - II. Larghetto

Hugh Wolff leads the New England Conservatory Philharmonia and Concert Choir and the Tufts Chamber Singers in a performance of Beethoven's Symphony no 9 in D minor "Ode to Joy." Recorded live in Jordan Hall, Boston February 12, 2014

Beethoven Ninth Symphony: iii. Adagio molto e cantabile

Hugh Wolff conducts the New England Conservatory Philharmonia in a performance of Mahler’s Symphony no 5 in C sharp minor. Recorded live in NEC's Jordan Hall September 30, 2015.
Conductor Hugh Wolff's work with Mahler has been well received by Boston audiences, particularly during NEC's "Mahler Unleashed" season in 2011. "As thrilling as any performance on record" (Boston Globe) was among the accolades for Mahler's First Symphony as performed by the NEC Philharmonia under Wolff's baton.

Mahler: Symphony no 5 in C sharp minor Rondo-Finale Allegro Frisch

The Way You Look Tonight (Jazz Piano Improvisation)

Frederic Chopin:  Scherzo No. 2 in B-flat Minor, Op. 31

Sensual Jazz – Music for Lovers, Romantic Jazz, Jazz Lounge, Erotic Jazz, Ambient Jazz

Last Night

Erotic Music - Follow Your Heart, Romantic City, Sexy Jazz Lounge, Erotic Music for Intimate Moments, Sensual Massage

Erotic Music

New England Conservatory students Zenas Hsu, Yina Tong, Livan perform Tchaikovsky's Trio for Piano and Strings in A minor, Op. 50. Recroded live in Jordan Hall, Boston, February 14, 2013

Tchaikovsky: Trio for Piano and Strings in A minor - Variazione VI  Tempo di valse

New England Conservatory educates and trains musicians of all ages from around the world, drawing on the talent and deep reservoir of experience of our distinguished faculty. We are dedicated to inculcating the highest standards of excellence and nurturing individual artistic sensibility and creative growth. Understanding that music is one of the transcendent expressions of human civilization, NEC aspires to ensure it a central place in contemporary society. Additionally, we present over 1,000 free concerts a year in our world class performance spaces which include historic Jordan Hall.

Beethoven Ninth Symphony: iii. Adagio molto e cantabile

necmusic

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