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            <marc:subfield code="a">MERCADANTE, S.: Didone abbandonata [Opera] (Innsbruck Festival of Early Music, 2018) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Didone abbandonata (Innsbruck Festival of Early Music, 2018) (NTSC) ( 02 hrs., 26 min. ) / Mercadante</marc:subfield>
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            <marc:subfield code="a">De Marchi, Alessandro, Conductor -- Academia Montis Regalis Orchestra, Orchestra -- Wundsam, Katrin, Artist -- Renard, Emilie, Artist -- Ruggero Maghini Choir, Choir -- Miškūnaitė, Viktorija, Artist -- Allemano, Carlo, Artist -- Bianco, Pietro Di, Artist -- Godoy, Diego, Artist -- Mercadante, Saverio, Composer -- Metastasio, Pietro, Lyricist</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Saverio Mercadante&lt;/i&gt; led the way for the baroque opera to transform into the Romantic operatic drama Italy was to become famous for. Conductor and pioneer Alessandro De Marchi is repeatedly delighted to find that operas by Mercadante and his contemporaries display the musical ideas of this period of Italian music to full effect only in historically informed performances. The sound becomes more subtle, the musicians are in a chamber music frame of mind when they play historically informed performances, which allows the vocal language to come into its own. Moreover, Mercadante's &lt;i&gt;Didone abbandonata&lt;/i&gt; also demonstrates that a classical libretto by Viennese court poet &lt;i&gt;Metastasio&lt;/i&gt; still had plenty of substance for a composition even in the 19th century.

&lt;i&gt;Didone abbandonata&lt;/i&gt; contains all that sets a Romantic Italian operatic drama apart: great scenes with cantabile and cabaletta for all the main characters, rousing composed ensembles, exciting duets and grand final scenes. The suicide of the Carthaginian Queen Dido, abandoned by Aeneas and betrayed by Jarba, is only a short recitative in Metastasio's libretto. 

In contrast, Mercadante composed it as a great death scene. Conversely, he still made use of the long-established recitatives of the baroque tradition. Sizzling both in terms of content and vocal style, you can hear throughout the entire work where one opera world ends and a new opera world begins, de Marchi teases the love triangle set in Carthage, staged in Innsbruck by star director Jurgen Flimm.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Puccini&lt;/i&gt; wrote &lt;i&gt;Nessun Dorma&lt;/i&gt; for &lt;i&gt;Turandot&lt;/i&gt; (1926), his last, unfinished opera, eventually completed by &lt;i&gt;Franco Alfano&lt;/i&gt;. Special about the music of Turandot is Puccini's use of techniques from grand opera, as well as his chinoiseries.

In Nessun Dorma, Calaf expresses his conviction that he will overcome, and that Turandot will eventually love him. The orchestra paints the nocturnal atmosphere with wave-like movements in the strings, while the vocal melody gradually prepares the rise to a euphoric high b: one of the most feared, yet also most rewarding notes of the tenor repertoire.

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            <marc:subfield code="a">&lt;i&gt;Liszt's Etudes d'execution transcendante&lt;/i&gt; enshrine the spirit of High Romanticism embodying extremes of expressive drama and technical virtuosity. His encyclopedic approach to technique is shown at its most dazzling in this cycle, heard in the 1852 revision which Liszt himself declared 'the only authentic one'. Integration of musical and technical elements in absolute, and the music's narratives are supported by dramatic physicality, an orchestral richness of sonority, and exceptional colouristic quality.</marc:subfield>
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            <marc:subfield code="a">SAINT-SAËNS, C.: Danse macabre (Iaciu, Lille National Orchestra, Märkl) (from Naxos 8.573745) (NTSC)</marc:subfield>
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            <marc:subfield code="a">The narrative of the piece, &lt;i&gt;Danse macabre&lt;/i&gt; is based on an ancient legend, where Death appears at midnight every year on Halloween, summoning the dead from their graves to dance for him while he plays his fiddle. His skeletons dance until dawn breaks, when they must hide away again until the following year. 

The piece opens with a harp playing a single note twelve times to represent the twelve strokes of midnight, followed by the solo violin's opening tritone (A and E flat) - an interval so dissonant that it was known as the diabolus in music (the Devil in music) during the Medieval and Baroque eras.

To achieve this on open strings, the E string of the solo violin must be tuned down a semitone to an E flat, in an example of scordatura tuning (&lt;i&gt;Bach&lt;/I&gt;, one of Saint-Saens' great musical heroes, makes a similar demand of the cello in the fifth of his &lt;i&gt;Cello Suites&lt;/i&gt;). The first, restless theme is heard on a solo flute, followed almost immediately by the second theme, a descending scale on the solo violin. The macabre element is emphasized further by the inclusion of the Diesirae Gregorian chant from the Latin Requiem Mass, but in A major rather than minor key, and in a playful manner rather than its usual solemn state. An energetic coda seems to lead the music to a conclusion, but is interrupted by a sudden pause: the cockerel's crow, played by the oboe, signifies the breaking of dawn and the skeletons scurrying back into their graves.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Messiaen&lt;/i&gt; wrote &lt;i&gt;Les offrandes oubliees (The Forgotten Offerings)&lt;/i&gt;, his first published orchestral work, in the summer of 1930, just after completing his studies at the Paris Conservatoire. Its premiere six months later attracted much press attention; the critic Guy Chastel remarked in Les Amities (1931) on the bold originality of the music, noting that such sustained, emotional music inspired by religious faith was refreshingly unusual on the contemporary music scene.

The work is subtitled 'a symphonic meditation' and is split into three parts: two extremely slow sections flanking a violent, ferocious one. In a short poem at the front of the score, Messiaen describes the slow, sad opening as a depiction of Christ's sacrifice on the Cross; in the middle section, he likens man's 'breathless, frenzied, ceaseless descent into sin' to a descent into the grave; and the ending, marked 'with great pity, and great love', represents the Eucharist, and reminds us of Christ's love for mankind.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Poemes pour Mi&lt;/i&gt; is not a romantic or sentimental expression of love; instead it is imbued with a deeply personal sense of mystery and spirituality, portraying human love as inextricably connected to the love of God and of nature. &lt;i&gt;Le paysage&lt;/i&gt; paints an idyllic picture of the lakes and country side around Petichet.</marc:subfield>
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            <marc:subfield code="a">The essence of chic and beauty, &lt;i&gt;Audrey Hepburn&lt;/i&gt; brought a certain 'magic' quality to the screen. Synonymous with big sunglasses and the little black dress, many are unaware of the hardships she endured in Nazi-occupied Holland while growing up. Starring in classic movies such as Sabrina, My Fair Lady, and of course Breakfast at Tiffany's, Audrey Hepburn brought effortless style and grace to the silver screen.

An inspiration and a role model, Hepburn devoted much of her time and effort in later years to her role as a Goodwill Ambassador for the United State's Children's Fund. This is a very special look at one of Hollywood's most memorable and treasured icons.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Marilyn Monroe&lt;/i&gt; is one the most famous and adored icons of the 20th century. Like no other Hollywood star, she won the hearts of millions around the world. It's been said that "Monroe played the best game with the worst hand". Her journey to stardom stemmed from a childhood of poverty, neglect and loneliness.

&lt;i&gt;Fascination&lt;/i&gt; tells the remarkable story of Marilyn's life. From birth to her premature death she endured criticism, insecurities, drug dependence, numerous miscarriages and three broken marriages. Despite all her demons, her unprecedented beauty, talent and quick wit amazed all that came before her. This is clearly seen in iconic footage of Marilyn performing before thousands of servicemen at the Korean war, which said was one of the points of her life.

On August 4, 1962, Marilyn Monroe was found dead at just 36 years of age from a probable suicide. Since her passing, there has been endless speculation as to the cause of her death and many conspiracy theories abound. The world's fascination with Marilyn Monroe lives on to this day in the many iconic photographs, films and legends about this quintessential Hollywood Superstar.</marc:subfield>
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            <marc:subfield code="a">DIANA PRINCESS OF WALES - An Unauthorized Tribute (Documentary, 2019) (NTSC)</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Diana, Princess of Wales&lt;/i&gt;, was an extraordinary figure. Her effortless elegance, her ability to relate to the common person and her devotion as a mother led to her becoming one of the most adored public figures in history. She helped to break down barriers between the British Royal Family and everyday people.

She was never afraid to stand up for the caused close to her heart. In 1997, she met with a tragic and untimely end. However, the world did not forget their favorite Princess. Over the years, many people have worked to ensure her legacy lives on. In this unique documentary, we examine all that Diana left the world. We look at her two extraordinary sons, Princess William and Harry; the Diana Memorial fund; and the charities that she helped fund and give a voice to such as campaigns for landmine victims and AIDS organizations.

In an elegant, restrained style, this program presents a tale of all that Diana gave the world in life and in death.

&lt;i&gt;Bonus features&lt;/i&gt;: Interviews with Prince William and Prince Harry, Kensington Palace Exhibitions and the Memorial Foundation.</marc:subfield>
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            <marc:subfield code="a">Queen Elizabeth II Reign Supreme - An Unauthorized Tribute (Documentary, 2019) (NTSC) ( 48 min., 51 sec. ) / Not Applicable</marc:subfield>
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            <marc:subfield code="a">&lt;Reign Supreme&lt;/i&gt; is a comprehensive historical time line, which, chronicles the life of &lt;i&gt;Queen Elizabeth II&lt;/i&gt; with a focus on her enduring reign, public image, private life and the defining events since her coronation. This program is a personal biography combining unique pictures and amazing archival footage documenting the life of an extraordinary woman.

From childhood to present day, Reign Supreme examines how the Queen was influenced by her father, her reported troubled relationships with her children, her marriage to Prince Phillip and how she copes with the pressures of being the most famous woman in the world.</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=L7804DVD</marc:subfield>
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        <marc:datafield tag="245" ind1="0" ind2="0">
            <marc:subfield code="a">NELSON MANDELA ONE MAN - An Unauthorized Tribute (Documentary, 2019) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Paull, Nicki, Artist -- Not Applicable, na, Composer</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Nelson Mandela&lt;/i&gt; is a shining example of what one man can do to change the world. Born into an oppressive regime, he fought to overcome prejudice and hate to unify a nation. Mandela was jailed for much of his life because of his beliefs, but he accepted his fate with dignity; he was prepared to die for his cause. Nelson Mandela's dedication resulted in his inauguration as the first black President of South Africa; his award of the Nobel Peace Price and ultimately, his role in overthrowing the Apartheid regime.

This program not only details the life of Nelson Mandela, the personal struggle and story of South Africa's most famous leader, but also charts the history of racism in the county, from the arrival of the Afrikaans, to the upheaval and segregation of Apartheid and the dismantling of the cruel regime. It looks at the events that surrounded Mandela's arrest; the campaigns to release him; his time as President of South Africa and also the charitable work he did. Nelson Mandela's powerful story proves that 'One Man' can truly make a difference.</marc:subfield>
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            <marc:subfield code="a">ELVIS PRESLEY LIVES ON - An Unauthorized Tribute (Documentary, 2019) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Elvis Presley Lives On - An Unauthorized Tribute (Documentary, 2019) (NTSC) ( 48 min., 12 sec. ) / Not Applicable</marc:subfield>
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            <marc:subfield code="a">Recognized by multiple generations, as well as a cross-section of society, &lt;i&gt;Elvis Presley&lt;/i&gt; holds a permanent place in American and World music history. Elvis Presley is an American icon that ushered in a music revolution that triggered a global-scale cultural transformation.

Elvis's legacy is celebrated all around the world from Japan to Israel and from India to the England. The impact of this music revolutionary touched the hearts of millions around the world. His music and persona still lives on today by inspiring and influencing artists all around the world. Lives On! Showcases the Elvis phenomenon; and how the 'King' controversially gave birth to Rock and Roll in an era of conservatism and conformity. Through his music, Elvis opened the door for black musicians, and sparked greater tolerance of open sexuality. Rarely seen footage of Elvis performing in Las Vegas with Liberace, and hysterical fans attending his movies and concerts, paint the picture of a man that had truly arrived before his time. Fascinating insights from Mary Ann Mobley, Donny Osmond and his former wife Priscilla Presley, reveal the personal life journey of the King of Rock and Roll.</marc:subfield>
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            <marc:subfield code="a">KENNEDY THE LEGACY - An Unauthorized Story (Documentary, 2019) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Kennedy The Legacy - An Unauthorized Story (Documentary, 2019) (NTSC) ( 48 min., 50 sec. ) / Not Applicable</marc:subfield>
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            <marc:subfield code="a">Higgins, Marilyn, Artist -- Not Applicable, na, Composer</marc:subfield>
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            <marc:subfield code="a">Americans are fascinated by the royal status of the Kennedy's and their dynasty that has mesmerized generators. To this day, their legacy lives on. The Kennedy family has long been plagued by tragedy and scandal. Despite this, the Kennedy's have long been thought of as America's 'Royal Family'. They have also brought positive change to the world in often-difficult times. The many misdeeds and tragedies of this family, has only enhanced the world's affection towards them. &lt;i&gt;The Kennedy Legacy&lt;/i&gt; is an engaging documentary featuring amazing archival period footage of the Kennedy family which, has been at the forefront of American consciousness since the sixties.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Beyonce&lt;/i&gt; is one of the biggest selling female recording artists of the decade. Born Beyonce Gisele Knowles in Houston Texas in 1981, she took dance and singing classes to overcome shyness, but it soon become obvious to everyone that she could belt out a tune. By the age of seven she was winning talent competitions and at fifteen formed Destiny's Child with best friend Kelly Rowland.

Knowles' father had so much faith in his daughters talent that he left his job in sales to manage the group full time and he was soon rewarded when Columbia signed Destiny's Child to a recording contract. After some line-up changes in the year 2000, the group was finally settled as a trio featuring Knowles, Roland and Michelle Williams. The groups third album was the first to feature Williams. Titles Survivor is spawned the hits &lt;i&gt;Independent Woman, Bootylicious&lt;/i&gt; and &lt;i&gt;Survivor&lt;/i&gt;. It earned them their third Grammy for Best R&amp;B Performance by Duo or Group.

After a slow of awards, the trio took some time out to pursue solo efforts. Three years later, they reformed to produce their final album - Destiny Fulfilled - on which they all had writing and producing credits. This album went on to make them the biggest selling girl group of all time. 

In June 2005 though the girls called it quits, deciding to end their fourteen years on a high note so they could go on to pursue individual goals. This Beyonce in particular has done with irrepressible style, dipping her toes into cinema with Dream Girls and Austin Powers: Goldmember; as well as producing the follow up to her debut solo album Dangerously in Love, B-Day, B-Day included the hit &lt;i&gt;Irreplaceable&lt;/i&gt;, collaboration with boyfriend Jay-Z which stayed on top of the Billboard charts for ten straight weeks, giving Beyonce the most successful single of her career.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;The Rolling Stones&lt;/i&gt; are as well known for their music as they are for each band member's highly public and often troubled personal journey. Pioneering a gritty blues-based style of rock and roll in the 60s, the Stones gathered fans and momentum alike with front man &lt;i&gt;Mick Jagger's&lt;/i&gt; unique blend of macho showmanship and camp irony attracting plenty of attention.

For over four decades the Rolling Stones have been on top. Arrests, drugs, fall-outs, death and relationships have stood center stage with eight consecutive number one albums in the US and sold out live shows. This documentary on one of music's most enduring and entertaining acts is compelling viewing.</marc:subfield>
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            <marc:subfield code="a">This is the story of &lt;i&gt;Diego Maradona&lt;/i&gt; a true footballing legend and arguably the greatest player ever. The Argentinian playmaker was renowned for his unbelievable skills and agility, as he effortlessly weaved his way up the pitch and through the opposition defense. Nicknamed 'The Golden Boy', Maradona earned ninety-one caps and scored thirty-one goals for his country, including in the 1986 World Cup where he captained his team to victory - scoring the two most famous goals of all time, against England. 

Diego Maradona, the Argentine forward is still considered one of the greatest footballers in history, spent seven chaotic years with Napoli between 1984 and 1991. It was a career-defining period in which he won two league titles and a World Cup with Argentina before struggling with drug addiction and the disaffection of his adopted country. This biographical, archival documentary records in stunning archival footage the life of the celebrated and infamous Argentine footballer. It depicts his greatest moments and tells the story of his tragic demise.</marc:subfield>
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            <marc:subfield code="a">Aus Lieb' zu ihr!, Polka française, Op. 135 (version for orchestra) ( 05 min., 45 sec. ) / Strauss</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Aus Lieb' zu ihr!&lt;/i&gt; belongs to a tiny clutch of works by &lt;i&gt;Eduard Strauss&lt;/i&gt; that were created as choral works for the prestigious Wiener Mannergesang-Verein (Vienna Men's Choral Association). With a text by the composer's friend, Jacques Kowy (1834-1911), and with Eduard conducting the Strauss Orchestra, Aus Lieb' zu ihr! was sung for the first time at the Association's 'Carnival Programme of Songs' in the Sophienbad-Saal on 24 January 1876. 

The critic for Die Presse declared that the new polka's 'melodious rhythms were very pleasing', and the published work was dedicated to the Association. As a purely orchestral concert number - as on this present recording - Aus Lieb' zu ihr! was given its first public performance on 5 March in the Golden Hall of the Musikverein when Eduard introduced it, alongside 14 other novelties, at his annual 'Carnival Revue' of all his new dances written for the current year's carnival festivities.</marc:subfield>
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            <marc:subfield code="a">STRAUSS, E.: O schöne Jugendzeit! (Czech Chamber Philharmonic Pardubice, Georgiadis) (from Naxos 8.225371) (NTSC)</marc:subfield>
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            <marc:subfield code="a">O schöne Jugendzeit!, Op. 262 (NTSC) ( 04 min., 55 sec. ) / Strauss</marc:subfield>
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            <marc:subfield code="a">Just three hours after a performance of &lt;i&gt;Beethoven's Ninth Symphony&lt;/i&gt; on 24 November 1889, the Great Hall of the Vienna Musikverein was  sold out for &lt;i&gt;Eduard Strauss's&lt;/i&gt; afternoon benefit concert. This popular musical event was further enhanced by the participation of the  beneficiary's brother Johann, giving the first Viennese performance under his own direction of his &lt;i&gt;Kaiser-Walzer&lt;/i&gt; ('Emperor Waltz').

In light of this, it is perhaps surprising to read the opinion of the Wiener Tagblatt's critic that it was primarily Eduard's own compositions 'which received the warmest and most sympathetic reception, in particular the French polka &lt;i&gt;O schone Jugendzeit&lt;/i&gt;, which was performed for the first time. It is a dance piece as fresh as it is tunefuland should soon be heard in every ballroom.' The Neues Wiener Tagblatt concurred, noting that the new polka 'met with great approval and three encores were demanded.' O schone Jugendzeit was initially published by Eduard himself, following a split with his publisher August Cranz in 1888, and it bore a dedication to the Spanish aristocrat, musicologist, music critic and composer Guillermo Morphy y Ferriz de Guzman (1836-1899).</marc:subfield>
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            <marc:subfield code="a">GLASS, P.: String Quartet No. 2, "Company": II. — (Carducci String Quartet) (from Naxos 8.559636) (NTSC)</marc:subfield>
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            <marc:subfield code="a">The &lt;i&gt;Second Quartet&lt;/i&gt; composed in 1983,  the  music  emerged  as  four  short  interludes  for Mabou  Mines'  staging  of Samuel  Beckett's  prose-poem Company, a meditation on mortality whose sombre  and  fatalistic  tone  inevitably  determined  the character  of  &lt;i&gt;Philip Glass's&lt;/i&gt;  music.  Thus  the  first 
movement unfolds as an undulating rhythm on lower strings, over which violins pursue a doleful melodic idea. The second movement is appreciably more animated in its outlining of  related  melodic  and  rhythmic  ideas,  while  the  third movement seems more in the way of an intermezzo that wends  its  wistful  though  on  occasion  restive  way.  The final  movement  sets  the  upper  and  lower  strings  in purposeful contrast as the music follows an anxious and finally inconclusive course.</marc:subfield>
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            <marc:subfield code="a">COPLAND, A.: Fanfare for the Common Man / El salón México / Clarinet Concerto (Goodman, Los Angeles Philharmonic, Copland) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Fanfare for the Common Man (NTSC) ( 03 min., 14 sec. ) / Copland -- El salón México (NTSC) ( 11 min., 29 sec. ) / Copland -- Clarinet Concerto (NTSC) ( 17 min., 39 sec. ) / Copland -- Rodeo - 4 Dance Episodes: IV. Hoe Down (NTSC) ( 04 min., 14 sec. ) / Copland -- The Tender Land Suite (NTSC) ( 20 min. ) / Copland</marc:subfield>
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            <marc:subfield code="a">This concert film made in the Dorothy Chandler Pavilion in Los Angeles in 1976 captures a memorable performance conducted by the doyen of American composers, &lt;i&gt;Aaron Copland&lt;/i&gt;. It includes some of his greatest and most attractive music, from the patriotic flourish of &lt;i&gt;Fanfare of the Common Man&lt;/i&gt; and the spirited orchestral Fantasy &lt;i&gt;El salon Mexico&lt;/i&gt;, to the colloquial warmth of his suite from the opera &lt;i&gt;The Tender Land&lt;/i&gt;. Of particular importance is the collaboration with the great &lt;i&gt;Benny Goodman&lt;/i&gt; in the masterwork he commissioned and premiered, the &lt;i&gt;Clarinet Concerto&lt;/i&gt;.</marc:subfield>
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            <marc:subfield code="a">Orchestral Music - SAINT-SAËNS, C. / RAVEL, M. / PROKOFIEV, S. / BRITTEN, B. (Britten-Pears Orchestra, Alsop) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Carnival of the Animals (version with narration) (NTSC) ( 33 min., 09 sec. ) / Saint-Saëns -- Ma mere l'oye (Mother Goose) (NTSC) ( 18 min., 34 sec. ) / Ravel -- Peter and the Wolf, Op. 67 (narrated in English) (NTSC) ( 27 min., 04 sec. ) / Prokofiev -- The Young Person's Guide to the Orchestra: Variations and Fugue on a Theme of Henry Purcell, Op. 34 (version with narration) (NTSC) ( 20 min., 30 sec. ) / Britten</marc:subfield>
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            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
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            <marc:subfield code="a">Alsop, Marin, Artist -- Britten-Pears Orchestra, Orchestra -- Ravel, Maurice, Composer -- Saint-Saëns, Camille, Composer -- Helsby, Genevieve, Author -- Helsby, Rebecca, Author -- Prokofiev, Sergey, Composer -- Crozier, Eric, Author -- Britten, Benjamin, Composer</marc:subfield>
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            <marc:subfield code="a">These live performances from Snape Maltings Concert Hall present some of the most popular classical characterization, and, in three works, the use of spoken texts to illuminate the narrative. Whether composed to amuse, entertain or educate, each possesses marvelous vitality, lyricism and bravura. The performances are conducted and narrated by Marin Alsop, one of the world's most inspirational musical communicators.</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=2.110399</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="2">
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            <marc:subfield code="a">Bolero (NTSC) ( 16 min., 22 sec. ) / Ravel -- Piano Concerto No. 3 in D Minor, Op. 30 (NTSC) ( 42 min. ) / Rachmaninov -- Symphony No. 3, "Jesus Messiah, Save Us" (NTSC) ( 16 min., 18 sec. ) / Ustvolskaya -- Der Rosenkavalier Suite (NTSC) ( 27 min., 40 sec. ) / Strauss -- La damnation de Faust, Op. 24: Hungarian March (NTSC) ( 05 min., 35 sec. ) / Berlioz</marc:subfield>
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            <marc:subfield code="a">Gergiev, Valery, Conductor -- Munich Philharmonic Orchestra, Orchestra -- Abduraimov, Behzod, Artist -- Petrenko, Alexei, Artist -- Berlioz, Hector, Composer -- Ravel, Maurice, Composer -- Rachmaninov, Sergey, Composer -- Strauss, Richard, Composer -- Ustvolskaya, Galina Ivanovna, Composer -- Contractus, Herman, Lyricist</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Valery Gergiev&lt;/i&gt;, fresh from his appointment as chief conductor of the Munchner Philharmoniker in 2015, takes his new ensemble to the BBC Proms for a concert at the utmost in drama and vivid musicianship. The brilliant young Uzbek pianist Behzod Abduraimov performs &lt;i&gt;Rachmaninov's&lt;/i&gt; thrillingly virtuosic &lt;i&gt;Piano Concerto No. 3&lt;/i&gt;, while the Russian stage and film actor Alexei Petrenko recites the text in &lt;i&gt;Galina Ustvolkskaya's&lt;/i&gt; resonant and profound &lt;i&gt;Symphony No. 3, "Jesus Messiah, Saves Us!"&lt;/i&gt;. The programme also features a hypnotic &lt;i&gt;Ravel Bolero&lt;/i&gt;, an alternately tender, florid and witty &lt;i&gt;Rosenkavalier Suite&lt;/i&gt;, and the rousing &lt;i&gt;Hungarian March&lt;/i&gt; by &lt;i&gt;Berlioz&lt;/i&gt;.</marc:subfield>
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            <marc:subfield code="a">VERDI, G.: Stiffelio [Opera] (Teatro Regio di Parma, 2017) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Stiffelio (Teatro Regio di Parma, 2017) (NTSC) ( 01 hrs., 59 min. ) / Verdi</marc:subfield>
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            <marc:subfield code="a">Nacoski, Blagoj, Artist -- Ganci, Luciano, Artist -- Landolfi, Francesco, Artist -- Coro del Teatro Comunale di Bologna, Choir -- Sala, Giovanni Sebastiano, Artist -- Cordaro, Emanuele, Artist -- Katzarava, Maria, Artist -- Orchestra del Teatro Comunale di Bologna, Orchestra -- Bernini, Cecilia, Artist -- García Calvo, Guillermo, Conductor -- Piave, Francesco Maria, Lyricist -- Verdi, Giuseppe, Composer</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Verdi's Stiffelio&lt;/i&gt; is a tense moral drama in which a Protestant minister learns of his wife's betrayal and is torn between thirst for revenge and his religious duty of forgiveness. These themes of adultery and divorce were social taboos in 1850, and Stifellio was met with such censorship and disapproval that it was soon withdrawn. Today we can appreciate both the title character's significance as the first true Verdi tenor, and the many wonderful moments in this 'most unjustly neglected of Verdi's operas'. The unique and dynamic production from Parma was acclaimed for taking us to 'a whole new theatrical world' (Huffington Post), and as 'nothing short of a coup' (bachtrack.com).</marc:subfield>
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            <marc:subfield code="a">PURCELL, H.: King Arthur [Opera] (Sung in English with German dialogue) (Staatsoper unter den Linden, 2017) (NTSC)</marc:subfield>
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            <marc:subfield code="a">King Arthur, Z. 628 (Sung in English with German dialogue) (Staatsoper unter den Linden, 2017) (NTSC) ( 02 hrs., 50 min. ) / Purcell</marc:subfield>
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            <marc:subfield code="a">Kataja, Arttu, Artist -- Berlin State Opera Chorus, Choir -- Jacobs, René, Conductor -- Milhofer, Mark, Artist -- Rügamer, Stephan, Artist -- Weisser, Johannes, Artist -- Johannsen, Robin, Artist -- Berlin Akademie für Alte Musik, Orchestra -- Fritsch, Anett, Artist -- Schachtner, Benno, Artist -- Schnuckel, Sigrid Maria, Artist -- Rotschopf, Michael, Artist -- Urlacher, Max, Artist -- Wandtke, Axel, Artist -- Rehberg, Hans-Michael, Artist -- Stokowski, Oliver, Artist -- Radisch, Tom, Artist -- Scheumann, Steffen Schortie, Artist -- Droste, Meike, Artist -- Skills Ensemble, Ensemble -- Purcell, Henry, Composer -- Dryden, John, Lyricist -- Duncker, Hans, Lyricist -- Wiens, Wolfgang, Lyricist</marc:subfield>
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            <marc:subfield code="a">The collaboration of the poet John Dryden and &lt;i&gt;Henry Purcell&lt;/i&gt; marked a conspicuous leap forward for English opera. Their greatest project, &lt;i&gt;King Arthur&lt;/i&gt;, is a five-act 'dramatic opera', the text of which had its origins in a patriotic musical play Dryden had written in 1684 but which he radically overhauled. The result was a work that appealed to the audience's enthusiasm for fine costumes, lavish sets, ingenious stage machinery and a cast of singers, dancers and instrumentalists, containing vocal show-stoppers such as the imperishable Frost Scene and Fairest Isle. This critically acclaimed staging uses a new performing edition by Rene Jacobs, and is sung in English with German dialogue</marc:subfield>
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            <marc:subfield code="a">The &lt;i&gt;Hiawatha Melodrama&lt;/i&gt; here recorded is a third and "final" version which &lt;i&gt;Horowitz&lt;/i&gt; expanded to include excerpts from &lt;i&gt;Dvorak's American Suite&lt;/i&gt; and &lt;i&gt;Violin Sonatina&lt;/i&gt;. The objective has been to turn a demonstration arising from scholarly inquiry into a bona fide concert work. The narrative, extracted from Longfellow's poem, is no longer fragmentary but continuous: it tells the Hiawatha story, beginning to end. From the American Suite, Horowitz have extracted an elegiac Indianist refrain from the third movement and from the Sonatina he used themes from the Larghetto, which is a portrait of Hiawatha's wife Minnehaha. He also added transitional passages of his own. The orchestration, where not by Dvorak, it is by Angel Gil-Ordonez. 

&lt;i&gt;The Hunting of Pau-Pau-Keewis&lt;/i&gt; wherein the music is extracted from the finale of Dvorak's &lt;i&gt;New World Symphony&lt;/i&gt; (a &lt;i&gt;Berkerman&lt;/i&gt; alignment). Certain Longfellow lines are here sung. Berkerman comments: "While this at first may seem far-fetched, one must remember that as soon as he returned to Bohemia 1895, he composed a series of tone poems based on the ballads of K.J. Erben. In at least one of these, he set down the poem, line by line, beneath the music - so this process was not alien him."</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Niccolo Jommelli&lt;/i&gt; was an innovative superstar among composers in his day, and is now recognised as precursor of the new Viennese Classical taste in music. With its intense story of love, life and death, &lt;i&gt;Il Vologeso&lt;/i&gt; sets one of the most powerful libretti written for the European opera stage. This is critically acclaimed production is considered to be its first staged performance for over two centuries, and the highly successful opera directors Jossi Wieler and Sergio Morabito have revived a Baroque gem with their exciting, present-day staging.</marc:subfield>
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            <marc:subfield code="a">WEBER, C.M. von: Euryanthe [Opera] (Theater an der Wien, 2018) (NTSC)</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Weber's&lt;/i&gt; 'great heroic-romantic' opera &lt;i&gt;Euryanthe&lt;/i&gt; premiered in Vienna in 1823. It concerns the wronged Euryanthe, victim of a plot to establish her unfaithfulness, but her love imbues her with colossal strength which Weber characterises with acute psychological insight. Through-composed and dispensing with spoken dialogue, its chivalric plot provides opportunities for a series of arias, ariosos, duets, cavatinas and choruses that contain some of his greatest operatic music. This production employs the opera's original version with a few, very minor cuts.</marc:subfield>
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            <marc:subfield code="a">Der Zwerg, Op. 17 (Deutsche Oper Berlin, 2019) (NTSC) ( 01 hrs., 35 min. ) / Zemlinsky -- Begleitungsmusik zu einer Lichtspielszene (Accompaniment to a Cinematographic Scene), Op. 34 (NTSC) ( 00 sec. ) / Schoenberg</marc:subfield>
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            <marc:subfield code="a">Magee, Emily, Artist -- Runnicles, Donald, Conductor -- Berlin Deutsche Opera Orchestra, Orchestra -- Philip, David Butt, Artist -- Tsallagova, Elena, Artist -- Berlin Deutsche Opera Chorus, Choir -- Park, So-Young, Artist -- Mehnert, Mick Morris, Artist -- Jekal, Philipp, Artist -- Stucki, Flurina, Artist -- Fasquelle, Amber, Artist -- Vaahtoluoto, Maiju, Artist -- Häger, Kristina, Artist -- Eslinger-Runnicles, Adelle, Artist -- Nikiforov, Evgeny, Artist -- Schoenberg, Arnold, Composer -- Zemlinsky, Alexander, Composer -- Klaren, Georg C., Lyricist</marc:subfield>
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            <marc:subfield code="a">Based on Oscar Wilde's story &lt;i&gt;The Birthday of the Infanta&lt;/i&gt; &lt;i&gt;Zemlinky's&lt;/i&gt; single-act opera &lt;i&gt;Der Zwerg&lt;/i&gt; is the tragic tale of a dwarf who is presented at court, falls in love with the beautiful Donna Clara, but is ultimately forced to see himself as others see him and to die of a broken heart. Preceded by &lt;i&gt;Schoenberg's Accompaniment to a Cinematographic Scene, Op. 34&lt;/i&gt;, Zemlinsky's Romantic score is full of psychological  intrigue. Is Der Zwerg a critique of society's superficiality? Is it the composer's self-portrait in his doomed affair with Alma Schindler? Director Tobias Kratzer's stunnng, transparent production creates a space in which each character is thrown into sharp relief in this fine, noble and melancholy work' (Bachtrack.com).</marc:subfield>
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            <marc:subfield code="a">STATE OPERA (THE) (Documentary, 2017) (NTSC)</marc:subfield>
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            <marc:subfield code="a">The State Opera (NTSC) ( 01 hrs., 29 min. ) / Not Applicable</marc:subfield>
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            <marc:subfield code="a">Kaufmann, Jonas, Artist -- Mehta, Zubin, Conductor -- Bolton, Ivor, Conductor -- Petrenko, Kirill, Conductor -- Harteros, Anja, Artist -- Jonas, Peter, Conductor -- Bachler, Nikolaus, Conductor -- Not Applicable, na, Composer</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;The State Opera&lt;/i&gt; is the first film ever made about the Bavarian State Opera, one of the world's oldest, most prestigious and internationally esteemed companies. It charts the course of three operas - &lt;i&gt;Die Meistersinger von Nurnberg&lt;/i&gt;, &lt;i&gt;Les Indes galantes&lt;/i&gt; and &lt;i&gt;Un ballo in maschera&lt;/i&gt; - as they come to life on the stage. 

We meet some of the great singers, such as Jonas Kaufmann and Anja Harteros, in performance and behind the scenes, as well as artistic directors past and present, and two of the music directors in Kirill Petrenko and his predecessor Zubin Mehta. As both a celebration and an exploration, this entertaining film is a declaration of love for the operatic form.</marc:subfield>
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            <marc:subfield code="a">Landi, Stefano</marc:subfield>
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            <marc:subfield code="a">LANDI, S.: Morte d'Orfeo (La) [Opera] (DNO, 2018) (NTSC)</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Stefano Landi&lt;/i&gt; was an influential early opera composer, and &lt;i&gt;La morte d'Orfeo&lt;/i&gt; is regarded as a milestone in the development of the genre. The narrative starts where &lt;i&gt;Monteverdi's L'Orfeo&lt;/i&gt; ends, taking is through the remaining adventures of Orpheus in the underworld. Beaten to death and torn apart by the fearsome maenads, Orpheus survives as a wandering soul and is finally reincarnated as a star in the sky. Landi succeeded in turning Greek tragedy into timeless music-drama, the staring point of all opera, and Seen and Heard International declared that it had 'never before encountered such technical perfection' in Pierre Audi's Amsterdam production.</marc:subfield>
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            <marc:subfield code="a">Completed in 1894, &lt;i&gt;Gustav Mahler's Second Symphony&lt;/i&gt; counts amongst his most popular compositions.

It took the composer six years to complete this large-scale work which was started under very unusual circumstances. In 1886, Mahler had a vision of his own funeral; the dream inspired what was to become the Symphony's first movement, which he entitled &lt;i&gt;Todtenfeier&lt;/i&gt; (Funeral Rite).

Unable to decide whether the work should be a separate tone poem or the first movement of a full symphony, he did not resume composition until 1893, finishing all but the last movement. For the conclusion of his Symphony, Mahler wanted to incorporate the human voice. The inspiration for this came when he attended the memorial service for the conductor Hans von B?low, which included a religious ode &lt;i&gt;Auferstehung&lt;/i&gt; (Resurrection) by the German poet Friedrich Gottlieb Klopstock (1724-1803).

This performance of Mahler's &lt;i&gt;Resurrection Symphony&lt;/i&gt; is performed by Ivan Fischer and the Budapest Festival Orchestra. Fischer is known for his superlative interpretations of Mahler with an attention to detail and a musicianship which are served by some of the finest European instrumentalists gathered in 'his' orchestra.</marc:subfield>
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            <marc:subfield code="a">MOZART, W.A.: Mass No. 18, "Great" / MOZART, L.: Litaniae Lauretanae de BVM (Salzburg Bach Choir, Camerata Salzburg, Manze) (NTSC)</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Colors of Crimson&lt;/i&gt;, commissioned by the Luxembourg Philharmonic Orchestra, was composed during the winter and spring of 2004. It is written for and dedicated to Evelyn Glennie, marimba soloist; Bramwell Tovey, conductor and Music Director, and the Luxembourg Philharmonic Orchestra. The work premiered in September 16, 2004 in Luxembourg.

Notes from the Composer: &lt;i&gt;Sheng Bright&lt;/i&gt;
To me, one of the most challenging aspects in writing for the marimba is the instrument's limited range of timbral variety. In this work, I've attempted to adjust this limitation by using different orchestral devices; some of them are subtle while at other times some are bold. What I hope to provide is a diversity of tonal hues within the overall
monotonic timbre of the marimba - &lt;i&gt;Colors of Crimson&lt;/i&gt;.

The basic thematic material of the work comes from a reconstruction of a love song I wrote during my teenage years. At the time, I was living in Qinghai - a remote province of the Qinghai-Tibet plateau in northwest China - where the folk music tradition has always been abundant.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;The Blazing Mirage&lt;/i&gt; for Cello and Strings was commissioned by the Musicus Society and premiered on October 26, 2012, by Trey Lee and the Munich Chamber Orchestra, Alexander Liebreich conducting, at the Concert Hall of City Hall, presented by the New Vision Arts Festival of Hong Kong.

&lt;i&gt;The Blazing Mirage&lt;/i&gt; was inspired by the phenomenon of the Dunhuang Caves, which have arguably preserved the greatest Buddhist art frescos and manuscripts, dating back to the fourth century.</marc:subfield>
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            <marc:subfield code="a">In &lt;i&gt;The Song and Dance of Tears&lt;/i&gt;, the composer did not attempt to
recreate the scenes and music he heard during a two month trip in the ancient Silk Road within the contemporary Chinese border. Rather, the work serves as an evocation of the impressions and emotions that stayed with him deeply.

The result was both fascinating and eye-opening. Not only was he profoundly touched by the beautiful music from the region, he also realized how significantly the musics of different ethnic groups have been inspiring and infiltrating each other for thousands of years. And just as there is no pure blood in any race, there is no true nationalistic music either. &lt;i&gt;Bartok&lt;/i&gt;, speaking of Slavic folk music, believed that the most interesting music was the music from the regions bordering more than one ethnicity. And that can certainly be said of all the musical styles he encountered during the trip. However, a border line has never truly existed on the Silk Road. This is true fusion in its finest sense.

The tune he constructed for the last section of the work, Tears, was based on materials of several folk songs he heard during the trip. One of them was titled Tears, in which an old man laments his lost youth.</marc:subfield>
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            <marc:subfield code="a">In 1804 &lt;i&gt;Rossini&lt;/i&gt; wrote a set of six &lt;i&gt;String Sonatas&lt;/i&gt;, for two violins, cello and double bass, commissioned by Agostino Triossi, a well-to-do landowner, living at Conventello, near Ravenna. These were to be played by Triossi on the double bass, with his cousins playing first violin and cello and Rossini himself taking the rather more demanding second violin part. A further commission from Triossi brought a D major Overture, known to many as &lt;i&gt;Sinfonia al Conventello&lt;/i&gt;. The work is scored for pairs of flutes, oboes and clarinets, one bassoon, two horns, one trombone and strings, presumably representing the forces immediate available at Conventello. The slow introduction is followed by a faster section, with a first theme that was later used in the opera &lt;i&gt;Il Signor Bruschino&lt;/i&gt;.</marc:subfield>
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            <marc:subfield code="a">Benda, Christian, Conductor -- Prague Sinfonia, Orchestra -- Rossini, Gioachino, Composer</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Il Signor Bruschino&lt;/i&gt;, ossia Il figlio per azzardo (Signor Bruschino, or The Son by Chance) opens with an overture to match, with the novel feature of music stands tapped by the violin bow as part of the thematic material. Otherwise the form of the overture brings two contrasting themes, the first taken over from the early &lt;i&gt;Sinfonia 'al Conventello'&lt;/i&gt; (Naxos 8.570933), the second, in the dominant key, introduced, as usual by wind instruments, and returning in the tonic key in the final recapitulation of the two themes.</marc:subfield>
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            <marc:subfield code="a">La scala di seta (The Silken Ladder): Overture (NTSC) ( 06 min., 03 sec. ) / Rossini</marc:subfield>
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            <marc:subfield code="a">Benda, Christian, Conductor -- Prague Sinfonia, Orchestra -- Rossini, Gioachino, Composer</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;La scala di seta (The Silken Ladder)&lt;/i&gt; dates from the same year and is a collaboration again with the librettist Giuseppe Foppa, after a French original. It was first performed at the Teatro San Moise in Venice on 9th May 1812. 

Giulia's secret marriage to her lover Dorvil is happily revealed when she engineers the marriage of her guardian's chosen husband for her, Dorvil's friend Blansac, with her cousin Lucilla. The opera starts with a popular overture, a frequent concert opener, drawn from this early example of Rossini's skill in handling comedy of this kind. The overture follows a familiar pattern, after the startling opening bars. An Andantino oboe melody leads the way to a brilliant Allegro, its two themes returning in recapitulation before the final chords.</marc:subfield>
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            <marc:subfield code="a">ROSSINI, G.: Demetrio e Polibio Overture (Prague Sinfonia, Benda) (from Naxos 8.570934) (NTSC)</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Rossini's&lt;/i&gt; first opera, &lt;i&gt;Demetrio e Polibio&lt;/i&gt; (Demetrius and Polybius) was written in 1808. A dramma serio in two acts, it was first performed at the Teatro Valle in Rome on 18th May 1812. It deals with the enmity between the kings of Syria and Parthia and the love of their daughter and son. 

The overture summons attention at the start, followed by a gently lyrical bassoon melody which leads to the livelier principal melody, stated first by the oboe, and the second subject, entrusted to the bassoon. Diabelli, for a piano reduction published in Vienna, found it necessary to make certain adjustments to regularise the form of the recapitulation.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Rossini's&lt;/i&gt; one-act farsa, &lt;i&gt;L'inganno felice&lt;/i&gt; (The Happy Deception), with a libretto by Giuseppe Foppa, was first performed at the Teatro San Mois? in Venice on 8th January 1812. Isabella, the wronged and banished wife of Duke Bertrando, long supposed dead, has in fact been rescued from the sea by the villager Tarabotto. The Duke, with his wicked confidant Ormondo and the latter's henchman Batone, comes to the village, where the duplicity of the villains is revealed.  The opera, among Rossini's earlier works, is set in a mining village. Foppa also provided the libretto for Rossini's &lt;i&gt;La scala di seta&lt;/i&gt; (The Silken Ladder) and &lt;i&gt;Il Signor Bruschino&lt;/i&gt;, and, with less success, for Sigismondo. 

After an introductory passage, the overture launches into a livelier melody and material that includes characteristic dramatic elements. The second theme of the Allegro is taken from the Sinfonia in D of 1808, and the overture was used again for Ciro in Babilonia, staged in Ferrara in March of the same year.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Rossini&lt;/i&gt; is said to have written the &lt;i&gt;La Cenerentola&lt;/i&gt; in three weeks. The overture, borrowed from the recently composed &lt;i&gt;La gazzetta&lt;/i&gt;, is a popular concert item. It opens with an introductory Maestoso, leading, as expected, to an Allegro vivace, its second theme introduced by the clarinet, to return in recapitulation with piccolo and bassoon. The movement largely follows Rossini's usual practice, a modified use of sonata-form, a slow introduction, an Allegro with two contrasting themes, the second usually entrusted to wind instruments, a recapitulation and a coda.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Tancredi's&lt;/i&gt; opening Sinfonia, an exciting introduction, is borrowed from the overture to &lt;i&gt;La pietra del paragone&lt;/i&gt;. The slow introduction, marked Andante marcato, duly leads to an Allegro, its first theme initially entrusted to the strings, followed, after a dramatic transition, by the second theme, introduced by flute and clarinet, soon joined by the bassoon. A characteristic crescendo is followed by a recapitulation, the second theme now initiated by the oboe and first violins, leading in due course to the final coda.</marc:subfield>
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            <marc:subfield code="a">It was in 1813, relatively early in his career, that &lt;i&gt;Rossini&lt;/i&gt; wrote &lt;i&gt;L'Italiana in Algeri&lt;/i&gt; (The Italian Girl in Algiers) for the Teatro San Benedetto in Venice. The opera, which retains a firm place in international operatic repertoire, has a lively overture, which opens Andante, with plucked strings, accompanying an oboe melody, before an Allegro, its second subject entrusted, as so often, to wind instruments.</marc:subfield>
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            <marc:subfield code="a">Quite different in character is the cabaret item &lt;i&gt;Romance&lt;/i&gt;, composed to words by &lt;i&gt;Horovitz's&lt;/i&gt; great friend Alistair Sampson, who had been the librettist of his two parody-cantatas for the 1958 and 1961 Hoffnung Music Festivals. Romance was often sung in a version for the King's Singers, who recorded it for their Lollipops album in 1975; and the solo version here is another later conceit.</marc:subfield>
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            <marc:subfield code="a">The &lt;i&gt;Prelude and Fugue&lt;/i&gt;, Op. 91, composed in Bayonnein September for the Fourth Pontoise International "Piano Campus" competition, is dedicated to fellow composer &lt;i&gt;Rene Maillard&lt;/i&gt;. Like &lt;i&gt;Shostakovich&lt;/i&gt; before him, &lt;i&gt;Bacri&lt;/i&gt; here proves that the Baroque form that reached its apogee with &lt;i&gt;Bach's&lt;/i&gt; harpsichord  and organ works, remains fertile ground for a composer's imagination and invention, even in the 21st Century. 

The &lt;i&gt;Prelude&lt;/i&gt;, in a sparkling C major, acts as an introduction and is inextricably linked to the &lt;i&gt;Fugue&lt;/i&gt; in that it sketches out the head of its subject. The four-part  exposition in the fugue reveals a highly expressive subject, and the interest of the musical discourse lies in the subsequent use of this and its fragments as well as in the variety of ways in which it is presented. Shortly before the end, the tempo halves. The music then takes on a lyrical aspect, before a resounding C major conclusion on a rhythmic figure derived from the end of the subject.</marc:subfield>
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            <marc:subfield code="a">Distinguished Bach specialist Sir &lt;i&gt;Andras Schiff&lt;/i&gt; returned to the BBC Proms in 2018 to present &lt;i&gt;Book II of the Well-Tempered Clavier&lt;/i&gt;. Extending the variety already evident in Book 1, Bach's effortless brilliance and new-found sonorities push harmony and counterpoint further than ever with a combination of ancient and modern styles, church austerity and galant lightness. Schiff has said that 'no-one combines the sacred and the secular as Bach does', and this is comprehensively demonstrated in Bach's fascinating and challenging sequence. This performance in the Royal Albert Hall was described as 'a musical meditation for our troubled times' by the Independent.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Ottorino Respighi's La bella dormente nel bosco&lt;/i&gt; (Sleeping Beauty) was originally commissioned by the renowned puppeteer Vittorio Podrecca. The revised version we hear today preserves much of the kaleidoscopic approach and magnified characters and emotions of that original, now enhanced by the composer's matchless orchestration. This famous story in which the Princess pricks her finger on a spindle and sleeps for centuries until kissed by her Prince is given a magical atmosphere through director Leo Muscato's colourful staging, and the superb cast of this Teatro Lirico di Cagliari production truly inhabits an enchanted realm.</marc:subfield>
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The E Major Andante maestoso introduction to the overture leads to an E Minor Allegro con brio, its first theme entrusted to the strings and the second, in G Major, to the oboe, then flute and horn. An impressive crescendo is succeeded by a recapitulation and an emphatic coda.</marc:subfield>
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            <marc:subfield code="a">TINOCO, L.: Cancoes do Sonhador Solitario: IV. O Anjo da Agua (Gulbenkian Orchestra, D.A. Miller) (from Naxos 8.572981) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Cancoes do Sonhador Solitario (Songs from The Solitary Dreamer): No. 4. O Anjo da Agua (The Angel of Water) (NTSC) ( 05 min., 25 sec. ) / Tinoco</marc:subfield>
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            <marc:subfield code="a">The work &lt;i&gt;Cancoes do Sonhador Solitario&lt;/i&gt; (Songs from The Solitary Dreamer) - is a reduction of a cantata for narrator, soprano, children's chorus, orchestra and electronics, written in 2011 to a commission from Porto's Casa da Musica and setting a libretto by Portuguese writer Almeida Faria. For this shorter cycle, the composer has retained four songs for soprano and orchestra that have a poetic substance of their own, eliminating the narrative passages and choral dialogues.

The final text, &lt;i&gt;O Anjo da agua&lt;/i&gt; (The Angel of Water),is about a female guardian angel who skims the fast-flowing waters, always looking ahead, and never back.The music here is again made up of repetitive pulses and long  orchestral  chords  from  which,  eventually, fragmentary motifs emerge. The repetitive rhythms permeate the entire movement as the music box did in Um livro. The orchestration, however, means that in this case the music takes on not a dreamlike but a dramatic,imperious dimension. And so not only this cycle, but the album as a whole is brought to a close - no abrupt ending here, rather a kind of evanescence, a lingering resonance that never quite fades away.</marc:subfield>
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            <marc:subfield code="a">YSAŸE, E.: Violin Sonata, Op. 27, No. 3, "Ballade": I. Ballade (Tianwa Yang) (from Naxos 8.572995) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Sonata for Solo Violin in D Minor, Op. 27, No. 3, "Ballade": I. Ballade (NTSC) ( 02 min. ) / Ysaÿe</marc:subfield>
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            <marc:subfield code="a">The single-movement &lt;i&gt;Sonata No. 3&lt;/i&gt; in D minor, Ballade, is dedicated to the great Romanian violinist and composer &lt;i&gt;George  Enescu&lt;/i&gt;,  the principal later teacher of Yehudi Menuhin in Paris. It opens in the manner of a recitative, leading to a passage in 5/4 and then a 3/8 Allegro giusto with dotted rhythms, as the tale unfolds, followed by rapid triplet figuration and a brief relaxation, before the dotted rhythms return, leading to the excitement of the ending.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Choros No. 1&lt;/i&gt; itself was dedicated to the charismatic pianist composer &lt;i&gt;Ernesto Nazareth&lt;/i&gt; (1863-1934), but also pays overt homage to Satiro Bilhar, legendary choro guitarist and author of Tira poeira, dubbed a "damned" polka by fellow musician Donga, who recounted how "Satiro would go into a house, say good evening, and immediately win over everyone present. Then he would slip his hat into his pocket, so that when he wanted a change of air he was spared the ceremony of having to ask the mistress of the house to get it for him." Choros No. 1 has all the enigmatic wit of Bilhar, as well as the sublime blend of melancholy and disenchantment that characterized Nazareth.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Fairouz's&lt;/i&gt; inspiration for his &lt;i&gt;Fourth Symphony&lt;/i&gt; was a comic book by Art Spiegelman that bears the same title. Spiegelman began it shortly after the terrorist attacks on September 11, 2001, capturing our horror and varied reactions to the tragedy with provocative images and statements. The artist has found himself "moved by the scary, somber and seriously silly symphony" that Fairouz composed, noting that they are different types of artists
but "equally obsessed with structure." Fairouz had been interested in writing a piece based on Spiegelman's book for several years, but hesitated to approach it because of the work's inevitably divisive nature. Each movement is a faithful rendering of excerpts from Spiegelman and, as will be shown, Fairouz does not shrink from controversy. 

&lt;i&gt;Spiegelman's panels that inspired the symphony may be
viewed at Fairouz's website: mohammedfairouz.com/inthe-shadow-of-no-towers&lt;/i&gt;</marc:subfield>
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            <marc:subfield code="a">Piano Trio in D Minor, Op. 120: II. Andantino (version for clarinet, cello and piano) (NTSC) ( 08 min., 23 sec. ) / Fauré</marc:subfield>
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        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">Crawford-Phillips, Simon, Artist -- Hosford, Richard, Artist -- Svedberg, Jesper, Artist -- Fauré, Gabriel, Composer</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Faure&lt;/i&gt; wrote his &lt;i&gt;Piano Trio in D minor&lt;/i&gt; between August 1922 and the following spring, undertaking the work at the prompting of his publisher, Jacques Durand. Whatever Durand may have suggested, Faure, staying at Annecy-le Vieux in the Haute Savoie, first set about writing a work for clarinet, cello and piano, before turning to the more usual instrumentation. It is recorded here as seemingly originally intended, with the clarinet adding a new dimension to a work generally familiar in its more conventional published version. Faure first completed the &lt;i&gt;Andantino&lt;/i&gt; and then, back in Paris, the other two movements, with the final Allegro vivo finished by March 1923. The work was dedicated to Mme Maurice Rouvier, widow of the former banker and President of the Council.</marc:subfield>
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            <marc:subfield code="z">Cover image</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="1">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=NVF0119</marc:subfield>
            <marc:subfield code="z">Excerpt Links</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="2">
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    <marc:record>
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            <marc:subfield code="e">Composer</marc:subfield>
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        <marc:datafield tag="100" ind1="1" ind2=" ">
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            <marc:subfield code="e">Composer</marc:subfield>
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            <marc:subfield code="e">Composer</marc:subfield>
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        <marc:datafield tag="100" ind1="1" ind2=" ">
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        <marc:datafield tag="100" ind1="1" ind2=" ">
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        <marc:datafield tag="100" ind1="1" ind2=" ">
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        <marc:datafield tag="100" ind1="1" ind2=" ">
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        <marc:datafield tag="100" ind1="1" ind2=" ">
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        <marc:datafield tag="100" ind1="1" ind2=" ">
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        <marc:datafield tag="100" ind1="1" ind2=" ">
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        </marc:datafield>
        <marc:datafield tag="505" ind1="0" ind2=" ">
            <marc:subfield code="a">BEL CANTO - THE TENORS OF THE 78 ERA, PART 1 (NTSC) ( 03 hrs. ) / Not Applicable -- BEL CANTO - THE TENORS OF THE 78 ERA, PART 2 (NTSC) ( 03 hrs., 20 min. ) / Not Applicable -- Bel canto - The Tenors of the 78 Era (bonus) (NTSC) ( 01 hrs., 35 min. ) / Not Applicable -- L'Africaine, Act IV: Mi batte il cor … O paradiso! (Sung in Italian) ( 03 min., 39 sec. ) / Meyerbeer -- Ave Maria ( 03 min., 15 sec. ) / Bach -- Rigoletto, Act I: Questa o quella ( 02 min., 31 sec. ) / Verdi -- Rigoletto, Act III: Bella figlia dell'amore ( 03 min., 45 sec. ) / Verdi -- L'elisir d'amore (The Elixir of Love), Act II: Una furtiva lagrima ( 05 min., 27 sec. ) / Donizetti -- Core 'ngrato ( 04 min., 33 sec. ) / Cardillo -- Guillaume Tell (William Tell), Act I: Ah! Mathilde, idole de mon ame! ( 03 min., 05 sec. ) / Rossini -- Otello, Act II: Ora e per sempre addio ( 02 min., 22 sec. ) / Verdi -- Eichendorff Lieder: No. 3. Verschwiegene Liebe ( 02 min., 47 sec. ) / Wolf -- Auf der Heide bluh'n die letzten Rosen ( 01 min., 57 sec. ) / Stolz -- Don Giovanni, K. 527, Act II: Il mio tesoro intanto ( 04 min., 07 sec. ) / Mozart -- 6 Lieder, Op. 85: No. 6. In Waldeseinsamkeit ( 02 min., 18 sec. ) / Brahms -- I Hear You Calling Me ( 03 min., 47 sec. ) / Marshall -- Iris, Act I: Apri la tua finestra ( 02 min., 22 sec. ) / Mascagni -- Tosca, Act III: E lucevan le stelle ( 03 min., 02 sec. ) / Puccini -- Tu sei la vita mia ( 01 min., 12 sec. ) / Becce -- Manon Lescaut, Act I: Donna non vidi mai simile a questa! ( 02 min., 07 sec. ) / Puccini -- Il primo amore sei tu ( 01 min., 47 sec. ) /  -- Martha, Act III: M'apparri ( 03 min., 30 sec. ) / Flotow -- Werther, Act III: Ah! Non mi ridestar ( 03 min., 58 sec. ) / Massenet -- Princesita ( 03 min., 10 sec. ) / Padilla -- Die Walküre, Act I: Ein Schwert verhiess mir der Vater ( 05 min., 06 sec. ) / Wagner -- Siegfried, Act I: Hoho! Hoho! Hahei! ( 03 min., 47 sec. ) / Wagner -- Otello, Act III: Gott! Warum hast du gehauft (Sung in German) ( 04 min., 51 sec. ) / Verdi -- Hoffmanns Erzahlungen: Es war einmal am Hofe von Eisenack ( 04 min., 12 sec. ) / Offenbach -- Frohe Botschaft ( 01 min., 42 sec. ) /  -- Schwanengesang, D. 957: No. 4. Ständchen (Serenade) ( 03 min., 17 sec. ) / Schubert -- If You Were Mine ( 01 min., 01 sec. ) / Tauber -- Die Fledermaus: Overture ( 02 min. ) / Strauss II -- Die Fledermaus, Act II: Dieser Anstand so manierlich ( 03 min., 31 sec. ) / Strauss II -- Fidelio, Op. 72, Act II: Gott! Welch' Dunkel hier! ( 06 min., 31 sec. ) / Beethoven -- Der Feuerreiter ( 04 min., 27 sec. ) / Wolf -- Faust, Act III: Salut! demeure chaste et pure ( 06 min., 25 sec. ) / Gounod -- Lohengrin, Act III: In fernem Land, unnahbar eu'ren Schritten ( 03 min., 59 sec. ) / Wagner -- La Juive: Recha, als Gott dich einst zur Tochter mir gegeben ( 04 min., 41 sec. ) / Halévy -- Ano avdoh ( 02 min., 38 sec. ) /  -- Ein Stern fallt vom Himmel: Wo beim Wein ein Walzer klingt ( 02 min., 13 sec. ) / May -- Mal d'amore ( 02 min., 12 sec. ) / Buzzi-Peccia -- Tiritomba ( 49 sec. ) /  -- Boris Godunov: Boris, Listen Boris ( 02 min., 25 sec. ) / Mussorgsky -- Rigoletto, Act I: E il sol dell'anima ( 03 min., 25 sec. ) / Verdi -- 6 Songs, Op. 4: No. 4. Ne poy, krasavitsa, pri mne (Sing not to me, beautiful maiden) ( 04 min., 59 sec. ) / Rachmaninov -- It's not the Wind that Bends the Branch ( 01 min., 36 sec. ) /  -- Boris Godunov, Act IV: Flow, flow, bitter tears ( 01 min., 54 sec. ) / Mussorgsky -- Un ballo in maschera, Act I: Di tu, se fedele ( 03 min., 13 sec. ) / Verdi -- Messa da Requiem: Ingemisco ( 04 min., 09 sec. ) / Verdi -- Gesang, Op. 106, No. 4, D. 891, "An Sylvia" (Who is Sylvia) ( 02 min., 36 sec. ) / Schubert -- L'Africaine: Land so wunderbar (Sung in German) ( 03 min., 28 sec. ) / Meyerbeer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="506" ind1="1" ind2=" ">
            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">Gigli, Beniamino, Artist -- Tauber, Richard, Artist -- Schipa, Tito, Artist -- Schmidt, Joseph, Artist -- Slezak, Leo, Artist -- Caruso, Enrico, Artist -- Björling, Jussi, Artist -- Melchior, Lauritz, Artist -- Rosvaenge, Helge, Artist -- McCormack, John, Artist -- Thill, Georges, Artist -- Kozlovsky, Ivan, Artist -- Moreschi, Alessandro, Artist -- De Lucia, Fernando, Artist -- Abott, Bessie, Artist -- Homer, Louise, Artist -- Scotti, Antonio, Artist -- Schwarz, Vera, Artist -- Bach, Johann Sebastian, Composer -- Gounod, Charles-François, Composer -- Bible - New Testament, Lyricist -- Mussorgsky, Modest Petrovich, Composer -- Oliva, Domenico, Lyricist -- Puccini, Giacomo, Composer -- Illica, Luigi, Lyricist -- Rellstab, Ludwig, Lyricist -- Heine, Heinrich, Lyricist -- Seidl, Johann Gabriel, Lyricist -- Schubert, Franz, Composer -- Genée, Richard, Lyricist -- Haffner, Carl, Lyricist -- Strauss II, Johann, Composer -- Treitschke, Georg Friedrich, Lyricist -- Beethoven, Ludwig van, Composer -- Sonnleithner, Joseph, Lyricist -- Blau, Edouard, Lyricist -- Milliet, Paul, Lyricist -- Hartmann, Georges, Lyricist -- Massenet, Jules, Composer -- Romani, Felice, Lyricist -- Donizetti, Gaetano, Composer -- Mozart, Wolfgang Amadeus, Composer -- Da Ponte, Lorenzo, Lyricist -- Cordiferro, Riccardo, Lyricist -- Cardillo, Salvatore, Composer -- Wagner, Richard, Composer -- Giacosa, Giuseppe, Lyricist -- Anonymous, Composer -- Becce, Giuseppe, Composer -- Carré, Michel, Lyricist -- Barbier, Jules, Lyricist -- Verdi, Giuseppe, Composer -- Boito, Arrigo, Lyricist -- Somma, Antonio, Lyricist -- Lemcke, Carl von, Lyricist -- Brahms, Johannes, Composer -- Not Applicable, na, Composer -- Buzzi-Peccia, Arturo, Composer -- Riese, Friedrich Wilhelm, Lyricist -- Flotow, Friedrich von, Composer -- Marshall, Charles, Composer -- Harford, Harold, Lyricist -- Bauernfeld, Eduard von, Lyricist -- Shakespeare, William, Lyricist -- Bis, Hippolyte-Louis-Florent, Lyricist -- Rossini, Gioachino, Composer -- Jouy, Victor Joseph Etienne de, Lyricist -- Scribe, Augustin-Eugène, Lyricist -- Halévy, Fromental, Composer -- Wolf, Hugo, Composer -- Eichendorff, Joseph von, Lyricist -- Rachmaninov, Sergey, Composer -- Pushkin, Alexander, Lyricist -- Meyerbeer, Giacomo, Composer -- Piave, Francesco Maria, Lyricist -- Mascagni, Pietro, Composer -- Mörike, Eduard, Lyricist -- Padilla, Jose, Composer -- Palomero, Manuel Fernández, Lyricist -- Mass Text, Lyricist -- Neubach, Ernst, Lyricist -- May, Hans, Composer -- Stolz, Robert, Composer -- Balz, Bruno, Lyricist -- Offenbach, Jacques, Composer -- Traditional, Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="520" ind1=" " ind2=" ">
            <marc:subfield code="a">A documentary series about the great tenors and bel canto singing in the first half of the 20th century by &lt;i&gt;Jan Schmidt-Garre&lt;/i&gt;.

With the development of sound film in the 1920s and 30s, the great tenors, such as Beniamino Gigli, Richard Tauber and Lauritz Melchior, became movie stars. Countless "singer movies" were made, but great vocal performances were also captured in documentaries and privately made movies. Using a wealth of rare restored material, this thirteen-part documentary series presents the great tenors from Enrico Caruso to Jussi Bjorling, and together with comprehensive essays, offers a deep and inspiring insight into the art of bel canto.

&lt;i&gt;Bel Canto - The Tenors of the 78 Era&lt;/i&gt; series was broadcast in thirty countries and awarded at the Columbus International Film Festival and at Classique en Images at the Louvre.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="538" ind1=" " ind2=" ">
            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="650" ind1=" " ind2="4">
            <marc:subfield code="a">Documentary</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="655" ind1=" " ind2=" ">
            <marc:subfield code="a">World</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Bach, Johann Sebastian</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Gounod, Charles-François</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Bible - New Testament</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Mussorgsky, Modest Petrovich</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Oliva, Domenico</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Puccini, Giacomo</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Illica, Luigi</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Rellstab, Ludwig</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Heine, Heinrich</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Seidl, Johann Gabriel</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Schubert, Franz</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Genée, Richard</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Haffner, Carl</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Strauss II, Johann</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Treitschke, Georg Friedrich</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Beethoven, Ludwig van</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Sonnleithner, Joseph</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Blau, Edouard</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Milliet, Paul</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Hartmann, Georges</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Massenet, Jules</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Romani, Felice</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Donizetti, Gaetano</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Mozart, Wolfgang Amadeus</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Da Ponte, Lorenzo</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Cordiferro, Riccardo</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Cardillo, Salvatore</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Wagner, Richard</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Giacosa, Giuseppe</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Anonymous</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Becce, Giuseppe</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Carré, Michel</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Barbier, Jules</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Verdi, Giuseppe</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Boito, Arrigo</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Somma, Antonio</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Lemcke, Carl von</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Brahms, Johannes</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Not Applicable, na</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Buzzi-Peccia, Arturo</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Riese, Friedrich Wilhelm</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Flotow, Friedrich von</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Marshall, Charles</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Harford, Harold</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Bauernfeld, Eduard von</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Shakespeare, William</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Bis, Hippolyte-Louis-Florent</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Rossini, Gioachino</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Jouy, Victor Joseph Etienne de</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Scribe, Augustin-Eugène</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Halévy, Fromental</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Wolf, Hugo</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Eichendorff, Joseph von</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Rachmaninov, Sergey</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Pushkin, Alexander</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Meyerbeer, Giacomo</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Piave, Francesco Maria</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Mascagni, Pietro</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Mörike, Eduard</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Padilla, Jose</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Palomero, Manuel Fernández</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Mass Text</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Neubach, Ernst</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">May, Hans</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Stolz, Robert</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Balz, Bruno</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Offenbach, Jacques</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Beethoven's Sonatas Op. 2&lt;/i&gt; were his calling card in Vienna as a composer. At that point - 1795 - he was already famous as a keyboard virtuoso, but the transition to fame as a composer was not obvious, and he took great care with the first works he published, a set of three trios (Op. 1) and three sonatas (Op. 2).

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            <marc:subfield code="a">As with the &lt;i&gt;3 Trios Op. 1&lt;/i&gt;, also among the &lt;i&gt;3 Sonatas Op. 2&lt;/i&gt;, it was the final, third work which was to be the culmination of the opus. After the passion and darkness of the &lt;i&gt;F minor sonata&lt;/i&gt;, and the easy, warm eloquence of the &lt;i&gt;A major sonata&lt;/i&gt;, &lt;i&gt;Beethoven&lt;/i&gt; turned to C major for a work of explosive brilliance. Virtuosity is the core trait of the music, whether serious or humorous, thundering or quick-fingered. One can imagine Beethoven proclaiming with happy self-assuredness: 'look what I can do at the piano, no holds barred!' And yet there's nothing empty or ostentatious here: the technical brilliance rests upon a glowing musical foundation, and there's so much atmosphere, colour and narrative throughout to complement the passage work. The slow movement, too, stands out in its emotional maturity and often exquisite beauty - its deep musicality wonderfully balancing the fireworks of the fast movements.

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            <marc:subfield code="a">In 1796, a year after the successful publication of the three sonatas Op. 2, &lt;i&gt;Beethoven&lt;/i&gt; composed the &lt;i&gt;Grande Sonata for Pianoforte&lt;/i&gt;, Op. 7. By the 'Grande' designation, Beethoven wanted to single it out as a special work, which didn't need other sonatas to be published as an opus. Later, he would give the same epithet to the &lt;i&gt;Pathetique&lt;/i&gt;, the &lt;i&gt;Waldstein&lt;/i&gt; and the &lt;i&gt;Hammerklavier&lt;/i&gt;.

And the grandness totally applies to the music. It is a tangible evolution from the earlier three works, with extra richness in its textures and timbres (the E-flat major key lending itself to glowing brilliance - think the 'Emperor' concerto years later!), and a more organic integration of virtuosity and music. But perhaps the biggest shift is in Beethoven's imagination - the very concept of what a sonata could be seems expanded; it is as if a previously two-dimensional painting began to acquire depth. A bravura first movement, overflowing with effervescent energy and good-natured humour, presents an abundance of melodies and motives. Beethoven's writing is almost orchestral - one could easily hear horns in the opening, jolly oboes and bassoons in the bridge section and multi-layered string tremolos in the codetta. The exposition is so chock-full of material that Beethoven keeps the development to a minimum: just a short dramatic episode. To balance it, an even more virtuoso coda finishes the movement.

The second movement is the dramatic core of the piece: an unfolding narrative, its opening an early embodiment of 'Innigkeit', this elusive word, part heartfelt, part hushed and awed, part personal and treasured. Replete with poetry, it reaches a purely orchestral climax, in which Beethoven demands a crescendo on a single note - an unplayable effect on any keyboard instrument, but one so easily done with string or woodwinds. The ending achieves even greater heights of lyricism - surely among the most beautiful pages written by Beethoven.

A simple, sincere elegance permeates both the third movement and the finale. Both contain a middle section in minor ?EUR" hushed and shadowy in the third movement (in the deep-flat key of E-flat minor), stormy and dramatic in the finale. But it is the charm which prevails in the end, bringing this grand sonata to a surprisingly serene, low-key end.

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            <marc:subfield code="a">C minor: by far the most iconic &lt;i&gt;Beethoven&lt;/i&gt; key. It's the key of the &lt;i&gt;Fifth Symphony&lt;/i&gt;, the &lt;i&gt;Third Piano Concerto&lt;/i&gt;, the &lt;i&gt;Coriolan Overture&lt;/i&gt;, the &lt;i&gt;Pathetique&lt;/i&gt;, etc., etc. - so much, in fact, that 'C minor mood' became a semi-official term in Beethoven literature. It's temptingly easy for to connect the brooding scowl on Beethoven's portraits and busts to the dramatic, stormy, high-intensity music he wrote in this key: works full of deep pathos and possessed by a relentless, sometimes demonic drive.

It's also temptingly easy to compare the &lt;i&gt;C minor sonata, Op. 10 No. 1&lt;/i&gt;, with its younger sister, the &lt;i&gt;Pathetique, Op. 13&lt;/i&gt;. The two are but a year or two apart and have a similar structure: a lyrical slow movement in A-flat major surrounded by an energetic first movement and finale. Perhaps, though, dubbing Op. 10 No. 1 'the small Pathetique' isn't that helpful. The earlier sonata may not possess the same catchiness or plumb the depths of human emotion to the same degree as Op. 13, but surely it has more than enough individuality to be loved for what it is, and not just as a precursor to a later work.

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            <marc:subfield code="a">Similar to the &lt;i&gt;trios Op. 1&lt;/i&gt; and the &lt;i&gt;sonatas Op. 2&lt;/i&gt;, it's the third work of the &lt;i&gt;sonatas Op. 10 - the sonata No. 7 in D major&lt;/i&gt; - which &lt;i&gt;Beethoven&lt;/i&gt; intended as the high point of the trilogy. He returns there to the expanded, four-movement structure of his first four sonatas, and abandons - perhaps with the exception of the finale - the concise, sometimes even abrupt manner of composition he used in the fast movements of sonatas Nos. 5 and 6.

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            <marc:subfield code="a">The &lt;i&gt;Pathetique!&lt;/i&gt; One of &lt;i&gt;Beethoven's&lt;/i&gt; most-loved and most popular works, it sent shock waves throughout the music world of the late 18th century, and its gripping power hasn't diminished in the 220 years since. The immediacy and intensity of emotion is staggering, right from the opening C minor chord. And just in the first-page introduction we are confronted with pain and pathos, nobility and hope, despair and crushing of said hope - a cry straight out of Beethoven's heart and soul, hurled at us without any protective barriers. I can barely imagine the impact this music must have had on its first listeners.

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            <marc:subfield code="a">&lt;i&gt;Op. 14&lt;/i&gt; - the utterly lovely, fresh, charming couple of short sonatas, are not just an antithesis but an antidote to the &lt;i&gt;Pathetique&lt;/i&gt;, as if &lt;i&gt;Beethoven&lt;/i&gt; needed to cleanse his spirit with limpid tones after the extreme dark intensity of the preceding sonata. Both are chamber works in nature, content with a restrained emotional and aural palette, for once not straining against the boundaries of the instrument. Beethoven seems more relaxed here, softer, at times genuinely happy.

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            <marc:subfield code="a">The other sonata of the pair, &lt;i&gt;No. 10 in G major&lt;/i&gt;, is a real hidden gem. The outpouring of loving emotion in the first movement - outwardly tender, yet full of inner ardour - presents a &lt;i&gt;Beethoven&lt;/i&gt; haven't really encountered so far in the cycle. The personal nature of the music is reflected in the parlando ('speaking') effect - music which seems to imply spoken words - particularly in the second theme, with its many repeated, entreating notes. None of those were necessarily new or original, but the sincerity of emotion and the lack of theatricality make the music particularly endearing.

https://beethoven32.com/</marc:subfield>
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            <marc:subfield code="a">Looking back at the sonatas Nos. 8-11, the &lt;i&gt;Sonata No. 11, Op. 22&lt;/i&gt; is the grandest of the four in its scope, probably the most challenging one technically, but curiously also the most conservative in its spirit and musical language. The elegant minuet and the easy-flowing, good-natured finale are even reminiscent of the &lt;i&gt;sonatas Opp. 2 and 7&lt;/i&gt;, written 4-5 years earlier.

https://beethoven32.com/</marc:subfield>
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            <marc:subfield code="a">White, Willard, Artist -- Beekman, Marcel, Artist -- Westbroek, Eva-Maria, Artist -- Netherlands Philharmonic Orchestra, Orchestra -- Aken, Frank van, Artist -- Steinen, Ursula Hesse von den, Artist -- Bridges, Jason, Artist -- Albrecht, Marc, Conductor -- Maltman, Christopher, Artist -- Wilde, Scott, Artist -- Prada, Richard, Artist -- Dutch National Opera Chorus, Choir -- New Amsterdam Children's Choir, Choir -- Franz, Morschi, Artist -- Jutte, Jacob, Artist -- Berg, Alban, Composer</marc:subfield>
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            <marc:subfield code="a">Based on real events and drawing on &lt;i&gt;Georg Buchner's&lt;/i&gt; revolutionary play, &lt;i&gt;Alban Berg's Wozzeck&lt;/i&gt; turns a grimly tragic narrative of violence and murder into one of the most powerful and original operas of the 20th century. Berg's uncompromising portrayal of brutality and madness generated much controversy, but the significance of Wozzeck was soon recognised; its compelling lyrical expansiveness, large-scale dramatic gestures and remarkable musical structures producing music of overwhelming emotional intensity. The Financial Times declared this to be a 'beautiful, moving, engrossing production... this is a consummate Wozzeck, blending clarity, lyricism, compassion and crushing force.'</marc:subfield>
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            <marc:subfield code="a">Don Pasquale (Sung in German) (Vienna State Opera, 1977) (NTSC) ( 02 hrs. ) / Donizetti</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Donizetti's Don Pasquale&lt;/i&gt; represents the high point of the Italian buff tradition, a sparking comedy using characters from commedia dell'arte in ways that are entertaining, witty and playful. It was the work selected by the Vienna State Opera for its 1977 tour through Austria. Starring famous singers like the bass Oskar Czerwenka, the great lyric tenor Luigi Alva and, on the cusp of international fame, Edita Gruberova (soon to become the 'queen of bel canto') - this filmed performance, in colour and sung in German, showcases on outstanding ensemble at the height of its powers.</marc:subfield>
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            <marc:subfield code="a">Bartok wrote &lt;i&gt;Contrasts&lt;/i&gt; in response to a letter of 11th August 1938 from the violinist Joseph Szigeti, telling him that Benny Goodman wanted to commission a trio with solo violin and clarinet. Bartok was by then 57, and had never written a chamber work for a wind instrument. Contrasts is a particularly complex and virtuosic work, and notably requires the clarinettist to switch from a clarinet in A to a B flat instrument for the opening and closing sections of the third movement (similarly the violin has to be retuned in peasant mode to G sharp, D, A, E flat).

The first movement, &lt;i&gt;Verbunkos (Recruiting Dance)&lt;/i&gt; is based on a traditional gypsy tune, then the calm of the second, Piheno (Relaxation), is followed by Sebes (Fast Dance), providing a fast and furious conclusion to the work.</marc:subfield>
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            <marc:subfield code="a">Bardon, Patricia, Artist -- Niese, Danielle de, Artist -- Hengelbrock, Thomas, Conductor -- Balthasar Neumann Ensemble, Ensemble -- Kares, Mika, Artist -- Mineccia, Filippo, Artist -- Arditti, Jake, Artist -- Pass, Damien, Artist -- Verney, Tom, Artist -- Seidl, Christoph, Artist -- Handel, George Frideric, Composer -- Grimani, Vincenzo, Lyricist</marc:subfield>
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            <marc:subfield code="a">During his years in Italy, &lt;i&gt;Handel&lt;/i&gt; absorbed the music of his contemporaries and mastered new stylistic trends. Though the staging of &lt;i&gt;La resurrezione&lt;/i&gt; was a memorable event in the Roman musical world, it was the production of &lt;i&gt;Agrippina&lt;/i&gt; that marked Handel's definitive investiture as an operatic composer. It met with enormous success and an unprecedented number of performances followed. Its melodic power is overwhelming and in his creation of credible and vivid characters, the alternation of recitative and arias, and sheer theatrical power, Handel established the template that was to last for the remainder of his operatic career.</marc:subfield>
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            <marc:subfield code="a">Coté, Dominique, Artist -- Opera Lafayette Chorus, Choir -- Brown, Ryan, Conductor -- Opera Lafayette Orchestra, Orchestra -- Beaudin, Pascale, Artist -- Sylvestre, Alexandre, Artist -- Mc Laren, Kimy, Artist -- Richer, Jean-Michel, Artist -- Lavoie, Tomislav, Artist -- Geddes, Keven, Artist -- Gaveaux, Pierre, Composer -- Bouilly, Jean Nicolas, Lyricist</marc:subfield>
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            <marc:subfield code="a">A political prisoner awaits death in his cell. A woman puts herself in mortal danger to seek justice. With its atmosphere of revolution and tale of devotional romance and a dramatic rescue from captivity, &lt;i&gt;Pierre Gaveaux's Leonore, ou L'Amour conjugal&lt;/i&gt; was the direct forerunner to &lt;i&gt;Beethoven's Fidelio&lt;/i&gt;. Having been entirely overshadowed by its famous successor and lain hidden for centuries, this both darkly sombre and entertainingly celebratory opera comique is seen here in an acclaimed modern premiere. Opera Lafayette's production was filmed at the Gerald W. Lynch Theater, John Jay College, New York, in 2017. It is a timeless and inspiring story of female heroism and political injustice which is as relevant today as ever.</marc:subfield>
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            <marc:subfield code="a">Choreographer &lt;i&gt;Jiri Bubenicek's Carmen&lt;/i&gt; celebrates the incredible inspiration of &lt;i&gt;Bizet's&lt;/i&gt; timeless music in a completely new two-act ballet that also includes music by &lt;i&gt;Albeniz, Castelnuovo-Tedesco and Falla&lt;/i&gt;, orchestrated and adapted by &lt;i&gt;Gabrielle Bonolis&lt;/i&gt;. The production emphasis aspects of the original drama, heightening the erotic atmosphere of the cigar factory and Carmen's wild spirit, and including a spectacular on-stage horse. The sensational choreography closely depicts the storyline of Prosper Merimee's original novella in a production that was hailed by critics as a triumph.</marc:subfield>
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            <marc:subfield code="a">Whatever depths of evocative storytelling we encountered in &lt;i&gt;Sonata No. 12&lt;/i&gt;, they come to a glorious culmination in the sister-sonatas &lt;i&gt;Op. 27, Nos. 1 and 2&lt;/i&gt;. They create two worlds, as opposing as they are complementary, similarly rich in atmosphere, and possessing a similar power to transport us elsewhere immediately upon hearing their opening bars.

&lt;i&gt;Beethoven's&lt;/i&gt; critics had previously reproached him for writing sonata forms too close to fantasies, too irregular, too free. With Op. 27, it is as if Beethoven decided to show what he could achieve when explicitly attempting to meld a sonata and a fantasy. Both works in that opus are subtitled &lt;i&gt;Sonata quasi una fantasia&lt;/i&gt; - sonata in the spirit (or manner) of a fantasy. A fantasy was a free-form musical composition, commonly consisting of several loosely linked sections with abrupt shifts of tempo, mood and key. Interestingly, it is the less famous, unnicknamed &lt;i&gt;Sonata No. 13&lt;/i&gt; which adheres more closely to this ideal. Its four movements, performed without a break, show the ease of transition we might expect from an improvisation, or free associative thinking - or a dream.

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            <marc:subfield code="a">It was the true hidden gem of the cycle, Boris Giltburg wrote about &lt;i&gt;Sonata No. 13&lt;/i&gt;. The fault for its being a 'hidden' gem lies at least partially with its sister, the incommensurably more popular &lt;i&gt;'Moonlight' Sonata, Op. 27, No. 2&lt;/i&gt;. The nickname was coined by Ludwig Rellstab, a German poet and influential music critic, some five years after &lt;i&gt;Beethoven's&lt;/i&gt; death, but its colossal popularity certainly dated back to Beethoven's lifetime. Even without a nickname, the starkly painted landscape of its first movement, the forlorn melody, the quiet grief embodied in the accompanying triplets, the fateful descent of the bass line - all those gripped the imagination of the listeners. A middle movement of exquisite, fragile beauty, and a dark whirlwind of a finale with its rage and despair strengthened the impact that much more. And the fact that the first movement is relatively technically undemanding could only increase the work's popularity.

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            <marc:subfield code="a">A freshness emanates from the opening of the &lt;i&gt;'Pastoral' Sonata&lt;/i&gt;; its pulsing bass is akin to a beating heart, bearing the promise of a continuous, unstoppable flow.

Whether or not the nickname &lt;i&gt;Pastoral&lt;/i&gt; was approved by &lt;i&gt;Beethoven&lt;/i&gt; himself, it is wonderfully fitting - the music strongly evokes nature, especially in the first and last movements. There is an unhurried gentleness throughout, climaxes are broad and harmonious, and the many 'simple' chords (triads and their inversions) lend the music an aura of stability and calmness which we rarely associate with Beethoven.

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            <marc:subfield code="a">&lt;i&gt;Les fetes de l'Hymen et de l'Amour&lt;/i&gt; was &lt;i&gt;Rameau's&lt;/i&gt; first exploration of the world of Egyptian mythology. Its libretto called for magic, gods and extraordinary natural effects to which he responded with one his most comprehensively brilliant scores, blending a gallant and pastoral inspiration of extreme refinement with powerful vocal and orchestral writing. In his use of a fluid and continuous flow of music, in the theatrical deployment of choruses, and in the blurring of the distinction between recitatives and airs, Rameau entered a new and pioneering stage of development. The score heard in his performance is the authoritative version.</marc:subfield>
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            <marc:subfield code="a">With his affinity for the 16th-century sculptor Benvenuto Cellini's advocacy of artistic freedom, &lt;i&gt;Hector Berlioz&lt;/i&gt; went straight for the grand gesture with his first completed opera. Returning to it years after initial production debacles, Berlioz stated that he would 'never again find such verve and Cellinian impetuosity, nor such a variety of ideas'. The plot revolves around Cellini's wooing of Teresa, a match frustrated at every opportunity by his rival, the cowardly Fieramosca. &lt;i&gt;Benvenuto Cellini&lt;/i&gt; is a pithy work combining romance, excitement, violence, comedy and spectacle; the perfect stage for Terry Gilliam's stylishly colourful and larger-than-life directing.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Andre Messager's Fortunio&lt;/i&gt; premiered in 1907 at the Opera Comique, where it received acclaim that was to last decades. One of the last composers to devote his entire career to opera and operetta, Messager exemplified in his music a feeling for dramatic pacing and the spirit of the Belle Epoque, qualities that permeate Fortunio, a comedie lyrique in which the dialogue in the libretto is given a continuous musical setting. Taking &lt;i&gt;Alfred de Musset's&lt;/i&gt; play &lt;i&gt;Chandelier&lt;/i&gt; as his source, Messager explores upper-class society at the turn of the 19th century with subtlety of characterisation and a thoroughly French orchesral transparency.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Pietro Antonio Cesti&lt;/i&gt; was one of the most outstanding champions of 17th-century Venetian opera, and &lt;i&gt;La Dori&lt;/i&gt; was both his greatest success and a major influence on the genre in the expressiveness of its arias and duets. The story is set in Babylon on the shores of the Euphrates, and is a convoluted and richly tragicomedic tale of lost lovers, disguises and mistake identities filled with larger-than-life and colourfully costumed characters. This revival of a forgotten masterpiece was acclaimed as 'a production of the highest level in every aspect' &lt;i&gt;(musicacultureaonline.it).&lt;/i&gt;</marc:subfield>
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            <marc:subfield code="a">There are, in &lt;i&gt;Beethoven's&lt;/i&gt; cycle, numerous sonatas that grab you immediately, whether as a performer or as a listener. Prior to this project, &lt;i&gt;Sonata No. 16&lt;/i&gt; was not one of those for me. I was offered the chance to play it as a teenager; I read through it briefly, decided with typical teenage cockiness that it wasn't 'that awesome', and asked to play &lt;i&gt;Sonata No. 28&lt;/i&gt; instead.

Today, I can both understand my initial reaction and see how superficial it was, and, ultimately, how wrong. &lt;i&gt;Sonata No. 16&lt;/i&gt; is a delight, but a delight perhaps more cerebral than emotional. It is akin to a pocket universe, where rules apply that might not apply elsewhere, and discovering and accepting these rules is a prerequisite to enjoyment. Like great science fiction writing often arises from a simple 'what if' question, the outer movements of the Sonata explore two musical worlds where something fundamental has been altered.

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            <marc:subfield code="a">'Just read The Tempest!' &lt;i&gt;Beethoven&lt;/i&gt; allegedly told his sometime secretary Anton Schindler, in reply to a request to provide the key to &lt;i&gt;Sonata No. 17&lt;/i&gt;. This connection with one of Shakespeare's last plays was the source of the Sonata's nickname. But the problem with this story is twofold: first, in Schindler's account, Beethoven's reply applied to both Sonata No. 17 and Sonata No. 23. The latter, by the time of the story's publication, already had a nickname - &lt;i&gt;Appassionata&lt;/i&gt; - and so the &lt;i&gt;Tempest&lt;/i&gt; nickname only stuck to the sonata that was still unnamed. Secondly, today we know that Schindler was a forger and a fabricator - many of his entries in the written conversation books with Beethoven were inserted by him long after Beethoven's death (as shown by research in the 1970s and '80s), and thus it is impossible to say whether any reply which he had attributed to Beethoven was true or falsified.

In the end, perhaps it doesn't matter. The nickname wouldn't have held, had listeners and performers not felt it reflected some true part of the music's core. Whether or not we link it to the play, the opening of the Sonata is breathtakingly strong. With one simple broken chord, Beethoven creates so much atmosphere and promises so much magic that the music transports us elsewhere right away. This is also Beethoven's own magic: to take something as commonplace as a chord used to signal the beginning of a recitativo in opera all throughout the 18th century, and to transform it into a work of art simply by slowing it down and bringing its dynamic down to pianissimo.

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            <marc:subfield code="a">The two previous trilogies in &lt;i&gt;Beethoven's&lt;/i&gt; sonata cycle - the three sonatas, Op. 2 and the three sonatas, Op. 10 - both had the third sonata in the group as their focal point and climax. Whether this is the case in the Op. 31 is less certain. On the one hand, &lt;i&gt;Sonata No. 18&lt;/i&gt; is the only one in the opus to be written in four movements, like most of Beethoven's &lt;i&gt;Grandes Sonates&lt;/i&gt; (Opp. 7, 22, 26 and 28). On the other, the Sonata is so easy-going, so light-spirited, so full of sunshine, that it feels much more like a release after Tempest's dark tension than a further intensification.

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            <marc:subfield code="a">Based on sketches in one of &lt;i&gt;Beethoven's&lt;/i&gt; notebooks, Sonata No. 20, Op. 49, No. 2 was probably composed immediately before Sonata No. 4, Op. 7, while &lt;i&gt;Sonata No. 19, Op 49, No. 1&lt;/i&gt; is likely to date from 1797 or early 1798, around the time of composition of the Sonatas, Op. 10, and before the Pathetique.

The manuscripts then lay unpublished for years until in 1802, Beethoven's brother Kaspar Karl, serving as part-time secretary to Beethoven, included them in an offer to a publisher. They are mentioned almost as an afterthought: 'two little easy sonatas of two movements each', following a list of more major works available for publication: a &lt;i&gt;symphony (No. 2)&lt;/i&gt;, a &lt;i&gt;grand piano concerto (No. 3)&lt;/i&gt; and two 'adagios for violin with complete instrumental accompaniment' (the violin Romances Nos. 1 and 2). Considering the very long delay since their composition, it is probable that Beethoven never intended these 'two little easy sonatas' to be published at all. To quote Ferdinand Ries, Beethoven's friend and pupil, 'all trivial pieces and many things which he never wanted to publish, because he did not regard them as worthy of his name, secretly came into the world through his brothers?EUR? even small compositions which he had written down in notebooks were thus stolen and engraved.'

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            <marc:subfield code="a">As Boris Giltburg wrote, the two &lt;i&gt;sonatas Op. 49&lt;/i&gt; were not, in fact, written at the time their numbers (19 and 20) would suggest - that is, between &lt;i&gt;Sonata No. 18&lt;/i&gt; (1802) and &lt;i&gt;Sonata No. 21&lt;/i&gt; (1804). Instead, they are much earlier works. Based on sketches in one of &lt;i&gt;Beethoven's&lt;/i&gt; notebooks, &lt;i&gt;Sonata No. 20, Op. 49, No. 2&lt;/i&gt; was probably composed immediately before &lt;i&gt;Sonata No. 4, Op. 7&lt;/i&gt;, while &lt;i&gt;Sonata No. 19, Op 49, No. 1&lt;/i&gt; is likely to date from 1797 or early 1798, around the time of composition of the &lt;i&gt;Sonatas, Op. 10&lt;/i&gt;, and before the &lt;i&gt;Pathetique&lt;/i&gt;.

The manuscripts then lay unpublished for years until in 1802, Beethoven's brother Kaspar Karl, serving as part-time secretary to Beethoven, included them in an offer to a publisher. They are mentioned almost as an afterthought: 'two little easy sonatas of two movements each', following a list of more major works available for publication: a symphony (No. 2), a &lt;i&gt;grand piano concerto&lt;/i&gt; (No. 3) and two &lt;i&gt;adagios for violin&lt;/i&gt; with complete instrumental accompaniment' (the violin &lt;i&gt;Romances Nos. 1 and 2&lt;/i&gt;). Considering the very long delay since their composition, it is probable that Beethoven never intended these 'two little easy sonatas' to be published at all. To quote &lt;i&gt;Ferdinand Ries&lt;/i&gt;, Beethoven's friend and pupil, 'all trivial pieces and many things which he never wanted to publish, because he did not regard them as worthy of his name, secretly came into the world through his brothers, even small compositions which he had written down in notebooks were thus stolen and engraved.'

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            <marc:subfield code="a">To mark the 250th anniversary of &lt;i&gt;Beethoven's&lt;/i&gt; birth, Russian born arranger &lt;i&gt;Paul Struck&lt;/i&gt; has arranged two of the composer's great mid-period chamber masterpieces for soloist and string ensemble. The &lt;i&gt;Cello Sonata No. 3&lt;/i&gt; equally succeeds in conceiving the piano part for ensemble, while exploring fullness of sound and maintaining transparency of texture.

Beethoven used an extended &lt;i&gt;scherzo&lt;/i&gt; form in which the trio is heard twice in a contrasting major key between the three appearances  of the scherzo section in a minor key. The scherzo theme acquires a  rhythmic shift through syncopation, gaining enormous energy in the version for string ensemble.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Beethoven's&lt;/i&gt; most important chamber work for violin - allows the sonata's concertante quality to emerge in a new light. The &lt;i&gt;Cello Sonata No. 3&lt;/i&gt; equally succeeds in conceiving the piano part for ensemble, while exploring fullness of sound and maintaining transparency of texture. Beethoven achieved the greatest possible balance between cello and piano, which Paul Struck has transferred with a sensitive touch to his  arrangement for solo cello and string ensemble.

Featuring the third movement, instead of a slow movement, Beethoven  composed a short, dreamlike introduction to the lively final rondo, which spurred all participants to render a joyful performance.</marc:subfield>
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            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
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            <marc:subfield code="a">Concert</marc:subfield>
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            <marc:subfield code="a">World</marc:subfield>
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            <marc:subfield code="a">Beethoven, Ludwig van</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
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        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Struck, Paul</marc:subfield>
            <marc:subfield code="e">Arranger</marc:subfield>
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            <marc:subfield code="a">Naxos Digital Services US</marc:subfield>
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        <marc:datafield tag="830" ind1=" " ind2="0">
            <marc:subfield code="a">Naxos Video Library</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="0">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/NVF1258.jpg</marc:subfield>
            <marc:subfield code="z">Cover image</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="1">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=NVF1258</marc:subfield>
            <marc:subfield code="z">Excerpt Links</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/NVF1258</marc:subfield>
            <marc:subfield code="z">Digital File Links</marc:subfield>
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