Conductor and musicologist Jean-François Paillard was one of the most visible French exponents of Baroque music from the 1960s onward. Paillard earned a degree in mathematics from the Sorbonne, but he turned to music soon after. He attended the Paris Conservatory as a musicology student, where he won first prize in music history; he later studied conducting at the Salzburg Mozarteum with Igor Markevitch. He formed the Ensemble Jean-Marie Leclair in 1952, which was renamed the Jean-François Paillard Chamber Orchestra the following year. Comprised of a dozen string players and a harpsichord, the group paralleled such small-scale English ensembles as the Boyd Neel Orchestra in performing Baroque-era works - especially those from France - as well as contemporary works for string orchestra. As the public's interest in Baroque music rose, the orchestra's popularity grew and was aided by a series of international tours covering dozens of countries.
Pachelbel was not only a famous organist, but also a prolific composer. This recording offers the chance to hear his six suites entitled "Musical Delight". These pieces are true gems of 17th-century instrumental music, just like his famous "Canon and Gigue", in which Pachelbel skilfully combines his knowledge of counterpoint and his creativity in the field of variation
Music played by The Magic Orchestra which is a sequel of the work that the composer, arranger and director Gian Piero Reverberi Italian (Genoa, 1939) developed with the musical group founded in 1979, the 'Rondo Veneziano'. This group achieved a huge success with 20 million copies sold in Europe based on a musical style of baroque influence (based on Vivaldi, Albinoni, Boccherini, etc.) structured as light music, limiting the link to the music of 18th century to the orchestral sonority, but particularly channeled to pop and rock music.
Daughter of the famous tenor García, himself a favourite of Gioachino Rossini, Pauline Viardot was originally destined to become a pianist (and was at one time tutored by Liszt) before the deaths of her father and singersister saw her re‐trained as a mezzo‐soprano by her mother. In 1839 she made her operatic debut in London, subsequently achieving renown on the concert and operatic stages of Great Britain, Germany and Russia in particular. Among her admirers in St Petersburg was the young Ivan Turgenev, later to become the best‐known author of his country in Europe and North America.
A great melody is one of the most important ingredients in writing a memorable song or piece of music. It’s the melody that catches your attention and stays in your head long after the song is done playing. The best melodies are often very simple to play or sing. Writing them is where the real challenge lies.
In October, 1738, a collection entitled "Six Concertos for Organ and Harpsichord, also for Violin, Oboe, and Other Instruments, in Seven Farts, composed by Mr. Haendel, Op. 4" appeared at Walsh's in London. The Concerto No. 6 in B-Major, transcribed here for harp, in keeping with the intentions of the composer and performance practices of the time, is issued from that collection. These concertos were all initially conceived to fill up the intervals during the oratorio, and their success depended greatly on Haendel's extraordinary talent for improvisation on the organ and harpsichord; Haendel would play a long, solemn, free prelude, and then would come the concerto that he would execute with spirit and grace. Haendel knew, in writing such works, of the need to capture the imagination of a large audience, which explains his taste for vigorous contrast, picturesque eloquence, and imposing effects…
Kathleen Battle, a woman with the voice today being known as that of an angel's. This CD includes some of the most famous lieder, melodies, italian art songs, arias, broadway, and spiritual pieces of all time. Some highlights would be Handel's "Ombra mai fu", one of his most beautiful and famous arias. Kathleen's recitative in "Ombra mai fu" is not boring at all, it is actually quite enjoyable to listen to, unlike most singers where you just hate their recitatives with a living passion…