
"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

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

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

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Potential Energy Productions