Popular Classics For Spanish Guitar - Julian Bream

 

Villa-Lobos - Chóros No. 1 & Study in E Minor

Popular Classics For Spanish Guitar

Julian Bream

Recorded in the Library at Kenwood, Hampstead, London

RCA Victor Red Seal LM-2606

1964

From Billboard - February 8, 1964: Bream's masterful technique and inspired affinity for these Latin pieces (by Villa-Lobos, Albeniz, Falla, Turina, and Torroba) are beautifully displayed on this album. Hits great taste mutes any showiness for extra musical effects. These are performances of sheer beauty.

Villa-Lobos

   Choros No. 1

   Study in E Minor

Torroba Madronos

Turina Homage á Tárrega:

   Garroting

   Soleares

Villa-Lobos Prelude in E Minor

Albéniz

   Granada (Manuscript 5:13)

   (No. 1 from "Suite Espagnole")

   (Arranged by Julian Bream)

Falla Homenaje

(Pour le tombeau de Claude Debussy)

Traditional-Arr. Llobet

El Testament d' Amelia

Turina Fandanguillo

Woody Herman: 1964

 

A Tast Of Honey

Woody Herman: 1964

Produced by Jack Tracy

Recorded November 20, 22 and 23, 1963 at A&R Studios, New York City

Engineer: Phil Ramone

Philips Records PHM 200-118

Clarinet and Alto Sax: Woody Herman

Trumpet: Bill Chase, Billy Hunt, Paul Fontaine, Gerald Lamy, Danny Nolan

Trombone: Phil Wilson, Henry Southall, Kenny Wenzel

Saxophone: Sal Nistico, Carmen Leggio, John Stevens (tenors) Nick Brignola (baritone)

Rhythm: Nat Pierce (piano), Chuck Anders (bass), Jake Hanna (drums)

Sal Nistico appears through the courtesy of Riverside Records

From the back cover: There are only two kinds of bandleader. One is a businessman, who plays "what the public wants to hear" and is interchangeable with his accountant. The other is an artist, who plays (or coaxes his sidemen to play) what he wants to hear, and hopes he can find a manager to market the results. To the businessman, a night on the bandstand is a day at the office. To the artist, the money is important but secondary; he is never really happy except when his band is playing.

Because  artistry isn't how well one plays but how honestly, the artist's band has to sound like the kind of person its leader is. Stan Kenton has got to be tall, wide-armed, sonorous and tense; his music is. Count Basie is twinkling, graceful, flexibly firm, and undisturbed by thunder. Duke Ellington's music is Duke; suave, theatrical, complex, ironic, melancholy, angry, unpredictable, grand.

Woody Herman? Well, let's see.

Woody is anti-sentiment/. He is so opposed to personal involvement that his emotionalism sometimes shows.

He is blunt and direct. Whereas most bandleaders imply it's all for the audience's own good, Woody's attitude is openly, if pleasantly, go-to-hell. The brass section is his firing squad.

He's a liberal disciplinarian, as long as the band shows up, blows its best. and stays legal. It has to be like this if the band is going to be as free as it is and yet stay within limits. Any band is a bushel of soundable egos. Freudians all, they can hate the leader simply because he's Daddy, and from the tables down Junior's to the place where Charlie dwells ex-Hermanites who now only stand at bars once tried to bar Woody from stands. But when his band is blowing it can go as far as it wants, because Woody isn't part of the herd, he's got the reins in his hand, and you can hear this in the way his clarinet enters after everyone else has fought, saying "Now, now, children, remember Daddy has muscles too." This became even more effective after he shaved his beard off.

Apart from the temporary insanity of the beard, Woody is totally unaffected and natural. Showmanship happens, yes, when it belongs; he drops it in like a four-bar break. If he is adaptable, he is also a tasteful adapter: a good cook can always get part of a meal out of cans, and Woody often adds his unique spices to high-quality staples labeled Ellington, Basie, or Lunceford.

Put this all together, along with agility, perception, musicianship, drive, stubbornness, endurance, far-out humor and eminent sanity, and you don't get a Boy Scout – he is simply not to  one trusted alone with your lead trumpeter – but you do get Woody Herman, or his music. which, in return to the point, is about the same thing. 

Also from the back cover: Hallelujah Time, arranged by Nat Pierce, opens as a fast wirebrush stomp, becomes a church meetin' singalong, and ends in a Zoot-and-Al tenor chase by Carmen Leggio and Sal Nistico, in that order. The changes occasionally hint at Vincent Youmans's 1927 Hallelujah, but the spirit is more like what that one was supposed to be about.

Deep Purple is a best-brands sampler. Nat Pierce's arrangement swings the sax section from rubber bands, Lunceford style. Woody enters playing alto a la Johnny Hodges (Duke Ellington, listening to a Herman record with me once, asked "Are you sure that isn't Johnny?"). Carmen Leggio solos 16 on tenor, Sal Nistico another 16. The brasses and Pierce's piano go Basie, Woody puts on Vincent Lopez, and in a typically kooky Herman coda the num- ber screams and drops.

Jazz Hoot is Bill Holman's answer to ABC-TV. Drummer Jake Hanna clog- dances throughout, Billy Hunt (trumpet), Phil Wilson (trombone), and Sal Nistico (tenor) skipping over Hanna's flailing heels before Father Herman's clarinet signals meditation.

Lead trumpeter Bill Chase gives us a good new arrangement of Taste of Honey to play. Woody on alto; Carmen Leggio, tenor; Bill Chase, stratosphere. Satin Doll (or, Is That Handsome Creature in the Metropole Mirror Really ME?) is a Nat Pierce orchestration; Nat at the piano; Bill Chase, trumpet; Chuck Andrus, bass.

After You've Gone (or, The Curse of Drink) is another Bill Holman orches- tration, as nutty as a brandied fruitcake. The celeste introduction prepares you for Frank Sinatra and the Pied Pipers, Woody's subtone clarinet recapitulates the theme even before it's played, then it's a furious Roy Eldridge tempo di cracked record all the way. Solos by Woody, clarinet; Paul Fontaine, trumpet; Sal Nistico, tenor. A full stop, then back to ad lib celeste, subtone clarinet, and out. Father, dear father, come home with me now.

The Strut (or, Who Killed Burlesque ?) is scored by Bob Hammer for an Ellingtonian trumpet-with-plunger intro, with Paul Fontaine on trumpet, Phil Wilson playing Tricky Sam trombone; and a tease coda. My Wish, from Meredith Willson's musical "Here's Love," extends the new Herman ballad library by one more. Woody (alto), Phil Wilson, and Billy Hunt solo over Jake Hanna's merciless two-beat. As with Deep Purple, the Nat Pierce treatment of My Wish recalls his memorable Days of Wine and Roses chart.

Johnny Coppola's Cousins, beginning as if it wants to be boogie woogie, spots Phil Wilson, Billy Hunt (muted), and Woody's clarinet riding over a section spat. Cousins was previously recorded by Woody in 1956 as Blues Groove. The new ending subtitles the piece Oh For God's Sake Drop the Other Shoe!

– WILLIS CONOVER Conductor of the Voice of America's worldwide jazz program "Music USA."

Music For An Oriental Dance Vol. 2

 

Nada

Music For An Oriental Dance 

Vol. 2 

Photo prise au "Farid El Attache Night Club Beyrouth"

La grande vedette de la danse Orientale "Hanan"

Voice Of Lebanon VLMX 32

Manufactured by The Graphophone Co. Of Greece Ltd.

1973

Ourak El Nakhil

Karl El Hajal

Nada

Wardeh

Ghazalieh

Bouyout El Farah

Dabké Jabalieh

Go Away From My World - Marianne Faithfull

 

Lullabye

Go Away From My World

Marianne Faithfull

Arranged and Produced by Mike Leander

Executive Producer: Andrew Loog Oldham

Photography: David Bailey / Gerald Mankowitz

London PS 452

1965

Go Away From My World

Yesterday

Come My Way

Last Thing On My Mind

How Should True Love

Wild Mountain Time

Summer Nights

Mayr Ann

Scarborough Fair

Lullabye

North Country Maid

Sally Free And Easy

Jazz Red Hot And Cool - Dave Brubeck

 

Love Walked In

Jazz: Red Hot And Cool

The Dave Brubeck Quartet

Featuring Paul Desmond

With Bob Bates (Bass) and Joe Dodge (Drums)

Recorded at the Basin Street night club in New York

Columbia Records CL 699

1957

From the back cover: This collection of performances by the Dave Brubeck Quartet was made on the bandstand at Basin street during Dave's engagement at New York's top jazz spot in October 1954 and July 1955. As usual, Dave's time in New York was limited, so it was decided to try recoding mis-en-scene, not only because of the time problem but because of the ever-present possibility that a performance before a night club audience might contain an extra dash of inspiration.

All the elements of the Brubeck style which have already won the Quartet a high place in jazz annals are in this album – the use of counterpoint. Brubeck and Desmond "going out" while Bates and Dodge "hold the lifeline." the evocations of classical and modern musical practice, and of course the almost hypnotic way in which each improvisation unreels in a mixture of fanciful flight and a solid "always there" beat.

Something very new has been added Lover, however. Advance reaction to public performances of this arrangement indicates that it will create something of a sensation among record fans. Dave begins at the piano in a casual sort of way, but the listener soon realizes that dave is thinking in 3/4 despite the ever-more insistent 4/4 of Joe Dodge's drums. Paul's entrance in the second chorus confirms this; he, Dave, and Bob Bates romp in three, while Joe holds the fast four. Dave takes the performance out with an improvised chorus, and then throws in an ad-lib coda which rounds off this unique interpretation. This routine, which has never been written down, started with a conception of Paul Desmond's. Working with each member of the Quartet in turn, Paul got his ideas across sufficiently to try the "arrangement," and gradually it grew to its present form. (The effect is reminiscent of some of the contrapuntal experiments begun many years ago by the Brubeck Octet.)

Little Girl Blue is in an orthodox groove, if one can call such an extraordinary series of choruses orthodox. It swings all the way without losing its reflective character. It is one of the most lyric of the Quartet's performances, despite its drive.

Most of the Quartet;s arrangements are first choruses only, with a return at the end (sometimes for only eight bars). Brubeck enjoys making these arrangements exercises in fugal or polytonal writing. Fare Thee Well, Annabelle is an example of how Dave can take an opening bit of melody and make it dominate most of the chorus; in this instance he turns it into a three-part round. The last chorus is a repeat of this intricate little game, and in between first Paul and then Dave indulge in some of their finest "Free association" improvising.

Sometimes I'm Happy is happy all the way. It is an exciting romp capped by some pretty wild piano by dDave; any time you switch smoothly from a bit of contractual hocus-pocus to old-school country piano to an oriental duet with a saxophone (underscored by some Sacre-type foundation piano) in the same of a few bars, there's a lot of imagination and skill loose on the premises.

The Duke (Ellington, of course) is an admiring caricature sketched in clear ink lines: a catchy slow-jog melody which develops into quite a portrait before it is completed. Desmond joins in on the middle only, and Dave returns to the original mood for a closing. Written by Brubeck, it is obviously concerned as a whole despite the separately constructed middle section. the development is clean, spare, and sharp throughout.

Still another performance in which Dave opens and close the arrangement is Indiana, a free-wheeling job with is actually improvised throughout, and in which Dave gets off some counter-rhythms recalling the old-time New Orleans pianists. Love Walked In lopes along in a fine series of swinging choruses, topped by Dave's two-art counterpoint in his last solo chorus. It is a great example of how the Brubeck Quartet can get into a groove without letting the performance turn it into a rut. As with the faster Indiana, the whole effect depends on the improvisational ability of the musicians, and they come through admirably.

The cover photograph of the album, taken by Helen Rubinstein at the hungry i in San Francisco, is the same as the one which is currently appearing in the advertisements and promotional material for Helena Rubinstein's new lipstick, "Jazz: Red Hot and Cool." (It's the same shade of red as the dress worn by the young lady who is digging Dave.) Thus the cover and title of this album is part of ta Rubinstein-Columbia promotion which extends to the publicizing of the Columbia jazz catalog and the inclusion of a record, containing four extracts from Columbia jazz albums, in the special package win which the lipstick is sold. All of which proves that if someone comes up with a bright new idea, it is entirely possible to do business an help a group of jazz musicians at the same time. – George Avakian

Lover

Little Girl Blue

Fare Thee All, Annabelle

Sometimes I'm Happy

The Duke

Indiana

Love Walked In

May You Always - The McGuire Sisters

 

Summer Dreams

May You Always

The McGuire Sisters

Coral CRL 757296

1959

May You Always

That's A Plenty

Since You Went Away To School

Do You Love Me Like You Kiss Me (Scapricciatiello)

Volare (Nel Blu, Dipinto Di Blu)

Ding Dong

Summer Dreams

Sweetie Pie

Peace

Achoo-Cha Cha

I'll Think Of You

One Fine Day

When You're Away - Carmen McRae

 

I'm Glad There Is You

When You're Away

Carmen McRae

Orchestra Directed by Luther Henderson, Jr.

KAPP KL-1134

1959

From the back cover: Perhaps the greatest tribute that can be paid to Carmen McRae is that, in an era of popular songs that usually avoid 'straight' presentation, she is the favorite of both the popular field and of the limited minority of true jazz aficionados. A regular choice of disc jockeys everywhere, her crystal clear diction and the freshness of her musical invention – which never distort the meaning of the lyrics – have achieved universal recognition. Respect came first from the music world in which she works – from critics and musicians alike – and, later, from an entire nation, when the tied with Ella Fitzgerald for first place in an All-Star annual poll held by Metronome Magazine.

In this, her second album on the Lap label, Carmen McRae tells the poignant story of disenchanted love. It is an outstanding combination of great melodies presented by a unique artist.

When You Are Away

The More I See You

I Only Have Eyes For You

Willingly (Orchestra Directed by Frank Hunter)

If I Could Be With You (One Hour Tonight)

I'll Be Seeing You

I Concentrate On You

Ain't Misbehavin'

Ev'ry Time We Say Goodbye

When Your Lover Has Gone

I'm Glad There Is You

Two Faces In The Dark (Orchestra Directed by Frank Hunter)

Masterpieces Of Music Before 1750 - Record 3: The 17th & 18th Centuries

 

The 17th & 18th Centuries

Masterpieces Of Music Before 1750

An Anthology Of Musical Examples From Gregorian Chant to J.S. Bach: Record 1

Cover Design by Enrico Arno

Recorded in conjunction with W.W. Norton + Co., Inc.

The Hayden Society, Inc.

H.S. 9040 Gregorian Chant to the 16th Century

1958

Danish Soloists and Ensembles - Including

Finn Vederø
Aksel Schiø

Else Brems

Niels Brincker

Schola Gregoriana of Copenhagen

The Copenhagen Boys' and Men's Choir

The Madrigal Choir of Danish State Radio

The Chamber Orchestra and Chorus of the Danish State Radio

Under the direction of Mogens Woldike

From the back cover: The issuing of this recording of the musical pieces contained in the book of the same title represents a happy recognition of the nearly unlimited possibilities and usefulness of a combination made possible by the long-playing record – the combination of audible music with the written discussion of it. The advantages of this procedure are manifest and are especially notable in the case of an anthology such as the present one. While it is true that an intelligently arranged anthology can be played on the piano any almost anyone, eve the virtuoso pianist cannot recreate the sensuous quality of the human voice or the variegated color scheme of an orchestra. Ever since the 15th century, musicians have endeavored to make vocal another compositions available to the music lover who would like to study and enjoy all kinds of music by playing it on his own instrument in the privacy of his home. In modern times, with an immense treasure of music available to the public, the need felt for "arranged" music is increased, but at the same time the phonograph makes it possible to hear all this music in its original form, an immeasurable gain, especially so because, when the student returns to his score and plays it on his piano, he no longer hears only the bare percussive sound of his instrument, but a good deal of the splendor conveyed by the recording will remain in his mind's ear. This most welcome joint publication of Masterpieces Of Music Before 1750, in which the recording and the book follow the same sequence, offers a true introduction to music; it annuls the very real limitations imposed upon music by verbal disquisition and piano reduction, and changes the modest study or classroom into a concert hall or opera house, at the disposal of the listener and at his discretion. – Paul Henry Lang

Variations For Harpsichord: A New Ground – Henry Purcell (1659 - 1695)

Finn Viderø, Harpsichord

Harpsichord: Bengaard, Copenhagen

Sonata da chiesa in E minor, Opus 3, Number 7 – Arcangelo Corelli (1653 -1713)

Loe Hansen, Violin I

Charles Senderovitz, Violin II

Volmer Norup, Violocello

Mogens Woldike, Organ

Piece For Clavecin: La Galante – Francois Couperin (1688 - 1759)

Finn Viderø, Harpsichord

Harpsichord: Bengaard, Copenhagen

Scene: "Sejour de l'éternelle paix" – Jean-Philippe Rameau (1683 - 1764)

Niels Brincker, Tenor

The Chamber Orchestra For Danish State Radio

Søren Sørensen, Harpsichord

Mogens Woldike, Conductor

Orchestra: 2 flutes, 4 first violins, 4 second violins, 4 violas, 2 violoncellos, 1 bass, harpsichord

Sonata in C minor for Harpsichord – Domenico Scarlatti (1685 - 1757)

Finn Viderø, Harpsichord

Harpsichord: Bengaard, Copenhagen

Scene: Recitative, "Al valor del mio brando," Sinfornia, and Aria, "Cara sposa" – George Frederick Handel (1685 - 1759)

Eva Berge, Soprano - Armida

Else Brems, Mezzo-soprano - Rinaldo

The Chamber Orchestra Of The Danish State Raio

Søren Sørensen, Harpsichord

Mogen Woldike, Conductor

Orchestra: 2 oboes, 4 first violins, 4 second violins, 4 violas, 2 violoncellos, 1 bass, 1 bassoon, harpsichord

Chorus: "Draw the Tear from Hopeless Love" – George Frederick Handel (1685 - 1759)

The Chorus Of The Danish State Radio

The Chamber Orchestra Of The Danish State Radio

Søren Sørensen, Organ

Mogens Woldike, Conductor

Chorus: 6 sopranos I, 6 sopranos II, 5 altos, 6 tenors, 6 basses

Orchestra: 2 oboes, 2 bassoons, 4 first violins, 4 second violins, 2 first violas, 2 second violas, 2 violoncellos, 1 bass, organ

Chorale: "Christ lag in Todesbunden" – Johann Sebastian Bach (1685 - 1750)

The Chorus Of The Danish State Radio

The Chamber Orchestra Of The Danish State Radio

Søren Søresen, Organ

Mogens Woldike, Conductor

Chorus: 10 sopranos, 7 altos, 6 tenors, 6 basses

Orchestra: Trumpet, 4 violins I, 4 violins II with sopranos, Trombone I, 2 violas I with altos, Trombone II, 2 violas II with tenors. Trombone III, 2 violoncellos, 1 bass with basses

Organ

Chorale Prelude For Organ: "Christ lag in Todeshanden" – Johann Sebastian Bach (1685 0 1750)

Finn Viderø, Organ

Organ: Marcussen & Sons, Aabenraa, Denmark

Chorus: "Ex war ein wunderlicher Krieg" – Johann Sebastian Bach (1685 - 1750)

The Chorus Of The Danish State Radio

The Chamber Orchestra Of The Danish State Radio

Søren Sørensen, Organ

Mogens Woldike, Conductor

Chorus: 10 sopranos, 7 altos, 6 tenors, 6 basses

Orchestra: Continuo only: 1 violoncello, 1 bass, organ

Arioso: "Ach Golgatha" – Johann Sebastian Bach (1685 - 1750)

Else Brems, Mezzo-soprano 

Poul Tofte-Hassen, English Horn I

Erik Hovaldt, English Horn II

Volmer Norup, Violoncello

Erik Hanse, Doublebass

Mogens Woldike, Organ

Fugue: Contrapunctus II – Johann Sebastian Bach (1685 - 1750)

Finn Viderø, Organ

Organ: Marcussen & Son, Asbenraa, Denmark

Masterpieces Of Music Before 1750 - Record 2: The 16th & 17Th Centuries

 

The 16th & 17th Centuries

Masterpieces Of Music Before 1750

An Anthology Of Musical Examples From Gregorian Chant to J.S. Bach: Record 1

Cover Design by Enrico Arno

Recorded in conjunction with W.W. Norton + Co., Inc.

The Hayden Society, Inc.

H.S. 9039 Gregorian Chant to the 16th Century

1958

Danish Soloists and Ensembles - Including

Finn Vederø
Aksel Schiø

Else Brems

Niels Brincker

Schola Gregoriana of Copenhagen

The Copenhagen Boys' and Men's Choir

The Madrigal Choir of Danish State Radio

The Chamber Orchestra and Chorus of the Danish State Radio

Under the direction of Mogens Woldike

From the back cover: The issuing of this recording of the musical pieces contained in the book of the same title represents a happy recognition of the nearly unlimited possibilities and usefulness of a combination made possible by the long-playing record – the combination of audible music with the written discussion of it. The advantages of this procedure are manifest and are especially notable in the case of an anthology such as the present one. While it is true that an intelligently arranged anthology can be played on the piano any almost anyone, eve the virtuoso pianist cannot recreate the sensuous quality of the human voice or the variegated color scheme of an orchestra. Ever since the 15th century, musicians have endeavored to make vocal another compositions available to the music lover who would like to study and enjoy all kinds of music by playing it on his own instrument in the privacy of his home. In modern times, with an immense treasure of music available to the public, the need felt for "arranged" music is increased, but at the same time the phonograph makes it possible to hear all this music in its original form, an immeasurable gain, especially so because, when the student returns to his score and plays it on his piano, he no longer hears only the bare percussive sound of his instrument, but a good deal of the splendor conveyed by the recording will remain in his mind's ear. This most welcome joint publication of Masterpieces Of Music Before 1750, in which the recording and the book follow the same sequence, offers a true introduction to music; it annuls the very real limitations imposed upon music by verbal disquisition and piano reduction, and changes the modest study or classroom into a concert hall or opera house, at the disposal of the listener and at his discretion. – Paul Henry Lang

Montet: Tristis est anima mea – Orlandus Lassus (1532-1594)
The Copenhagen Boys' And Mens' Choir

Niels Møller, Conductor 

Chorus: 18 sopranos, 11 altos, 3 tenors I, 4 tenors II, 7 basses

Agnus Dei (I) from the Mass "Vein spoons Christi – Giovanni Pierluigi da Palestrina (ca. 1525 - 1594)

The Copenhagen Boy's and Mens' Choir

Niels Møller, Conductor 

Chorus: 18 sopranos, 11 altos, 7 tenors, 7 basses

Motet: Ego sum panis vivus – William Byrd (1542 - 1623)

The Copenhagen Boy's and Mens' Choir

Niels Møller, Conductor

Chorus: 18 sopranos, 11 altos, 7 tenors, 7 basses

Keyboard Canzona: Canzona l'epistola (early 17th century)

Finn Viderø, Organ

Organ: Marcussen & Son, Aabenraa, Denmark

Madrigal: S'io parto, i' moro – Luca Marenzio (ca. 1560-1599)

The Madrigal Choir Of The Danish State Radio

Mogens Woldike, Conductor

Chorus: 4 sopranos, 3 altos, 4 tenors, 3 basses

Madrigal: Thirsts, Sleepest, Thou – John Bennet (ca. 1575-ca. 1625)

The Madrigal Choir Of The Danish State Radio

Mogens Woldike, Conductor

Chorus: 4 sopranos, 3 altos, 4 tenors, 3 basses

Variations For Virginals: Loth to Depart – Giles Farnaby (ca, 1560-ca. 1600)

Finn Viderø, Harpsichord

Harpsichord: Bengaard, Copenhagen

Madrigal For Solo Voice And Lute: Dovró dunque morire – Giulio Gaccini (ca. 1560 - 1618)

Valborg Garde, Mezzo-soprano

Tage Nielsen, Lute

Recitative: "Tu se' morta" – Claudio Monteverdi (1567 - 1634)

Niels Brincker, Tenor

Tage Nielsen, Lute

Mogens Woldike, Organ

Organ: Hemmersam positiv, gedackt stop

Scene: "Affect gladium" – Giacomo Carissimi (1605 - 1674)

Ella Simonsen, Soprano - First Mother

Valborg Garde, Mezzo-soprano - Second Mother

Holger Nøgaard, Bass - Solomon

Mogens Woldike, Organ

Sacred Cantata (Concerto): O Herr, hilf – Heinrich Schutz (1585 - 1672)

Valborg Garde, Soprano I

Else Brems, Soprano II

Aksel Schiøtz, Tenor

Leo Hansen, Violin I

Charles Senderovitz, Violin II

Volmer Norup, Violoncello

Mogens Woldike, Organ

Ricercar dopo il Credo, for organ – Girolamo Frescobaldi (1583 - 1643)

Finn Viderø, Organ

Organ: Marcussen & Son, Aabenraa, Denmark

Suite in E Minor, for Clavichord – Johann Jakob Froberger (1616 - 1667)

Finn Viderø, Clavichord

Clavichord: Neupert, Bamberg, Germany

Overture: Overture to Armide – Jean-baptiste Lully (1632 - 1687)

The Chamber Orchestra Of The Danish State Radio

Søren Sørensen, Harpsichord

Morgens Woldike, Conductor

Orchestra: 4 first violins, 4 second violins, 2 first violas, 2 second violas, 2 violoncellos, 1 bass, harpsichord

Masterpices Of Music Before 1750 - Record 1: Gregorian Chant to the 16th Century

 

Gregorian Chant to the 16th Century

Masterpieces Of Music Before 1750

An Anthology Of Musical Examples From Gregorian Chant to J.S. Bach: Record 1

Cover Design by Enrico Arno

Recorded in conjunction with W.W. Norton + Co., Inc.

The Hayden Society, Inc.

H.S. 9038 Gregorian Chant to the 16th Century

1958

Danish Soloists and Ensembles - Including

Finn Vederø
Aksel Schiø

Else Brems

Niels Brincker

Schola Gregoriana of Copenhagen

The Copenhagen Boys' and Men's Choir

The Madrigal Choir of Danish State Radio

The Chamber Orchestra and Chorus of the Danish State Radio

Under the direction of Mogens Woldike

From the back cover: The issuing of this recording of the musical pieces contained in the book of the same title represents a happy recognition of the nearly unlimited possibilities and usefulness of a combination made possible by the long-playing record – the combination of audible music with the written discussion of it. The advantages of this procedure are manifest and are especially notable in the case of an anthology such as the present one. While it is true that an intelligently arranged anthology can be played on the piano any almost anyone, eve the virtuoso pianist cannot recreate the sensuous quality of the human voice or the variegated color scheme of an orchestra. Ever since the 15th century, musicians have endeavored to make vocal another compositions available to the music lover who would like to study and enjoy all kinds of music by playing it on his own instrument in the privacy of his home. In modern times, with an immense treasure of music available to the public, the need felt for "arranged" music is increased, but at the same time the phonograph makes it possible to hear all this music in its original form, an immeasurable gain, especially so because, when the student returns to his score and plays it on his piano, he no longer hears only the bare percussive sound of his instrument, but a good deal of the splendor conveyed by the recording will remain in his mind's ear. This most welcome joint publication of Masterpieces Of Music Before 1750, in which the recording and the book follow the same sequence, offers a true introduction to music; it annuls the very real limitations imposed upon music by verbal disquisition and piano reduction, and changes the modest study or classroom into a concert hall or opera house, at the disposal of the listener and at his discretion. – Paul Henry Lang

Antiphon: Loas Deo Patri, and PSALM 113: Laudate pueri

Schola Gregoriana of Copenhagen

Bernhard Lewkovitch, Conductor

Chorus: 5 tenors, 3 basses

Alleluia: Vedimus stellam

Schola Gregoriana of Copenhagen

Bernhard Lewkovitch, Conductor

Chorus: 5 tenors, 3 basses

Sequence: Victim Paschali (11th Century)

Schola Gregoriana of Copenhagen

Bernhard Lewkovitch, Conductor

Chorus: 5 tenors, 3 basses

Trouvére Song: Orlatruiz (12th - 13th Century)

Holger Nørgaard, Bass

Minnelied: Willkommen Mayenschein – Neidhart von Reuenthal (13th Century)

Holger Nørgaard, Bass

Parallel Organum: Rex caeli, Domine (9th Century)

Schola Gregoriana of Copenhagen

Bernhard Lewkovitch, Conductor

Chorus: 5 tenors, 3 basses

Free Organum: Agnus Dei (12th Century)

Schola Gregoriana of Copenhagen

Bernhard Lewkovitch, Conductor

Chorus: 5 tenors, 3 basses

Melismatic Organum: Benedicamus Domino – School of St. Martial (12th Century)

Schola Gregoriana of Copenhagen

Bernhard Lewkovitch, Conductor

Chorus: 5 tenors, 3 basses

Organum: Alleluia (Nativity's) – Pertain (late 12th Century)

Erling Thorborg, Tenor

Egon Sørensen, Tenor

Men's Voices of The University Choir of Copenhagen

Niels Møller, Conductor 

Chorus: 10 basses

Motet: En non Diu! Quant voi: Eius in Oriente – School of Notre Dame (13th Century)

Conductus: De castitatis thalamo (13th century)

Women's Voices of The University Choir of Copenhagen

Niels Møller, Conductor

Chorus 8 sopranos, 5 altos

Estampie (13th Century)

Christian Thodberg, Conductor

Hans Erik Deckert, Viola da gamba

Agnus Dei (1) from the Mass "Notre Dame" – Guillaume de Machaut (ca. 1300-ca. 1377)

The Copenhagen Boys' and Men's Choir

Niels Møller, Conductor

Chorus: 10 sopranos, 5 altos (3 boys and 2 men), 5 tenors

Instrumentation: Hemmersam positiv organ, regal stop

Ballata: Chi pia le vuol sapere – Francesco Landini (1325-1397)

Niels Brincker, Tenor

Hans Erik Deckert, Viola da gamba

Kyrie (1) from the Mass, "Se la face ay pale" – Guillaume Dufay (ca. 1400 - 1474)

The Copenhagen Boys' and Mens' Choir

Niels Møller, Conductor

Instrumentation: Recorder with sopranos, Viola with tenors I, Trombone with tenors II, Bassoon with basses, Hemmersam positive organ, gedackt stop

Chanson: Adieu m'amour et ma maistresse – Gilles Binchois (ca. 1400 - 1460)

Dagmar Schou, Conductor

Christian Thodberg, Recorder

Jens Sørensen and Hans Erik Deckert, Violas de gamba

Sanctus (first section) from the "Missa prolationum" – Johannes Ockeghem (ca. 1425 - 1495)

The Copenhagen Boys' and Mens' Choir

Niels Møller, Conductor

Chorus: 20 sopranos, 3 tenors I, 3 tenors II, 7 basses

Motet: Ave Maria – Josquin des Prez (ca. 1450 - 1521)

The Copenhagen Boys' and Mens' Choir 

Niels Møller, Conductor 

Chorus: 20 sopranos, 3 tenors I, 4 tenors II, 7 basses

Chanson: Pour ung plaisir – Thomas Crequillion (d.ca. 1557)

The University Choir of Copenhagen

Niels Møller, Conductor

Chorus: 9 sopranos, 5 altos, 5 tenors, 8 basses

Canzona Francese data Pour ung Plaisir – Thomas Crequillion (ca. 1510 - 1586)

Finn Viderø, Harpsichord

Harpsichord: Bengaard, Copenhagen

Lute Dances: Der Prinzen-Tanz (ca. 1550)

Tage Nielsen, Lute