Andrew L. Mccart Phd

Continuing their Magnificat series, and the last album of Andrew Nethsingha’s tenure as director, The Choir of St John’s College Cambridge present Magnificat 4 with works from composers including Judith Weir, Jonathan Dove, Joanna Forbes L’Estrange and Charles Villiers Stanford. The album features two items commissioned specially for St John’s by Judith Weir alongside the world premiere of a new piece by Jonathan Dove.

"Les Sonates du Rosaire" forment l'un des cycles les plus originaux jamais composés pour le violon et qui fit la célébrité de Biber jusqu'à nos jours. Utilisant un accord du violon différent (scordatura) dans chacune de ses 15 sonates - toutes interprétées sur le même instrument d'Amati -, ce cycle représente le sommet de l'invention baroque et du style virtuose du XVIIe siècle. Distingué par un Gramophone Award, le duo Andrew Manze - Richard Egarr relève ce défi de manière éblouissante. Andrew Manze joue sur un violon Amati, 1700 ; archet de Gerhard Landwehr, Heemstede, 1988 d'après un modèle italien. Ce titre est paru pour la première fois en 2004.

This collection of pieces in D is the longest in all the books of Couperin and contains several masterpieces. Grace and nobility seem to reign. In his official portrait Couperin has one hand on the score to “Les Idées Heureuses”. It is a work of sonorous nostalgia and melancholy. ” La Garnier” a tribute work, sings out in the tenor range of the harpsichord combining sensuousness and rhetoric in a most poetical homage. “La Terpsicore” delineates dance gestures and paints the muse of movement. Debussy in his preludes owes much to the spirit and genius of this piece. The dance movements live in the courtly world of the chateau (the gavotte and courantes) or the rough and tumble world of the barnyard or village square (rigaudon and passepied). There are suites within the suite (for Diane) and there is not one genre or character piece that is not inspired in its choices of delicate dissonance and voluptuous harmonies.

British tenor Mark Padmore brings together a collection of English and Italian arias from Handel oratorios and operas. Padmore, who performs works of many eras in a wide range of styles, has primarily settled into the kind of repertoire Peter Pears comfortably inhabited, but with a stronger emphasis on Baroque opera and oratorio. Padmore's voice resembles Pears' in some ways; it's a light instrument, and is capable of great agility. It has some of Pears' limitations, particularly a tendency toward tonal blandness and lack of variety in its colors, as well as a slight edge when pushed. Most importantly, though, Padmore does not have Pears' reedy quality or breathiness – his voice is pure and more mellow than Pears'.