David GerIngas, Bruno Giuranna, Orchestra Da Camera Di Padova E Del Veneto - Boccherini: Complete Cello Concertos (1988)
- Title: Boccherini: Complete Cello Concertos
- Year Of Release: 1988
- Label: Claves Records
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 03:24:16
- Total Size: 892 mb
- WebSite: Album Preview
Tracklist
01. Concerto No. 1 in E-Flat Major, G. 474: I. Allegro
02. Concerto No. 1 in E-Flat Major, G. 474: II. Largo
03. Concerto No. 1 in E-Flat Major, G. 474: III. Allegro. Rondo
04. Concerto No. 2 in A Major, G. 475: I. Allegro
05. Concerto No. 2 in A Major, G. 475: II. Adagio
06. Concerto No. 2 in A Major, G. 475: III. Rondo. Allegro
07. Concerto No. 3 in D Major, G. 476: I. Allegro
08. Concerto No. 3 in D Major, G. 476: II. Largo
09. Concerto No. 3 in D Major, G. 476: III. Allegro
10. Concerto No. 4 in C Major, G. 477: I. Allegro
11. Concerto No. 4 in C Major, G. 477: II. Largo
12. Concerto No. 4 in C Major, G. 477: III. Allegro
13. Concerto No. 5 in D Major, G. 478: I. Allegro con spirito
14. Concerto No. 5 in D Major, G. 478: II. Larghetto
15. Concerto No. 5 in D Major, G. 478: III. Rondo I - Rondo II. Comodo assai
16. Concerto No. 6 in D Major, G. 479: I. Allegro
17. Concerto No. 6 in D Major, G. 479: II. Adagio
18. Concerto No. 6 in D Major, G. 479: III. Allegro assai
19. Concerto No. 7 in G Major, G. 480: Allegro
20. Concerto No. 7 in G Major, G. 480: II. Adagio
21. Concerto No. 7 in G Major, G. 480: III. Allegro
22. Concerto No. 8 in C Major, G. 481: I. Allegro moderato
23. Concerto No. 8 in C Major, G. 481: II. Adagio
24. Concerto No. 8 in C Major, G. 481: III. Allegretto
25. Concerto No. 9 in B-Flat Major, G. 482: I. Allegro moderato
26. Concerto No. 9 in B-Flat Major, G. 482: II. Andantino grazioso
27. Concerto No. 9 in B-Flat Major, G. 482: III. Rondo.Allegro
28. Concerto No. 10 in D Major, G. 483: I. Allegro maestoso
29. Concerto No. 10 in D Major, G. 483: II. Andante lentarello
30. Concerto No. 10 in D Major, G. 483: III. Allegro con moto
31. Concerto No. 11 in C Major, G. 573: I. Maestoso
32. Concerto No. 11 in C Major, G. 573: II. Largo cantabile
33. Concerto No. 11 in C Major, G. 573: III. Allegro comodo
34. Concerto No. 12 in E-Flat Major: I. Maestoso
35. Concerto No. 12 in E-Flat Major: II. Largo
36. Concerto No. 12 in E-Flat Major: III. Allegro
Luigi Boccherini a réussi ce paradoxe d’apparaître clairement, aux yeux de ses contemporains, comme le parangon du violoncelliste virtuose, original et moderne, et, en même temps, de s’entourer de mystère quant à sa production pour son instrument favori lorsqu’il le traite en soliste.
Nous sommes très précisément renseignés sur la manière dont Boccherini traite le violoncelle dans la texture du trio, du quatuor ou du quintette tout au long des quelque quatre cents ouvrages dont il a enrichi le répertoire de musique de chambre entre 1760 et 1804. Mais lorsqu’il s’agit des sonates et concertos pour violoncelle, et malgré faits, témoignages et documents, l’historien du XXe siècle ne peut que poser des questions sans pouvoir apporter de réponses nettes jusqu’à présent.
Tout se passe comme si Boccherini avait voulu se réserver un domaine privilégié qu’il savait exploiter pour étonner, séduire et charmer les musiciens et amateurs du XVIIIe siècle, tout en assurant ainsi l’originalité et l’éclat de sa carrière.
01. Concerto No. 1 in E-Flat Major, G. 474: I. Allegro
02. Concerto No. 1 in E-Flat Major, G. 474: II. Largo
03. Concerto No. 1 in E-Flat Major, G. 474: III. Allegro. Rondo
04. Concerto No. 2 in A Major, G. 475: I. Allegro
05. Concerto No. 2 in A Major, G. 475: II. Adagio
06. Concerto No. 2 in A Major, G. 475: III. Rondo. Allegro
07. Concerto No. 3 in D Major, G. 476: I. Allegro
08. Concerto No. 3 in D Major, G. 476: II. Largo
09. Concerto No. 3 in D Major, G. 476: III. Allegro
10. Concerto No. 4 in C Major, G. 477: I. Allegro
11. Concerto No. 4 in C Major, G. 477: II. Largo
12. Concerto No. 4 in C Major, G. 477: III. Allegro
13. Concerto No. 5 in D Major, G. 478: I. Allegro con spirito
14. Concerto No. 5 in D Major, G. 478: II. Larghetto
15. Concerto No. 5 in D Major, G. 478: III. Rondo I - Rondo II. Comodo assai
16. Concerto No. 6 in D Major, G. 479: I. Allegro
17. Concerto No. 6 in D Major, G. 479: II. Adagio
18. Concerto No. 6 in D Major, G. 479: III. Allegro assai
19. Concerto No. 7 in G Major, G. 480: Allegro
20. Concerto No. 7 in G Major, G. 480: II. Adagio
21. Concerto No. 7 in G Major, G. 480: III. Allegro
22. Concerto No. 8 in C Major, G. 481: I. Allegro moderato
23. Concerto No. 8 in C Major, G. 481: II. Adagio
24. Concerto No. 8 in C Major, G. 481: III. Allegretto
25. Concerto No. 9 in B-Flat Major, G. 482: I. Allegro moderato
26. Concerto No. 9 in B-Flat Major, G. 482: II. Andantino grazioso
27. Concerto No. 9 in B-Flat Major, G. 482: III. Rondo.Allegro
28. Concerto No. 10 in D Major, G. 483: I. Allegro maestoso
29. Concerto No. 10 in D Major, G. 483: II. Andante lentarello
30. Concerto No. 10 in D Major, G. 483: III. Allegro con moto
31. Concerto No. 11 in C Major, G. 573: I. Maestoso
32. Concerto No. 11 in C Major, G. 573: II. Largo cantabile
33. Concerto No. 11 in C Major, G. 573: III. Allegro comodo
34. Concerto No. 12 in E-Flat Major: I. Maestoso
35. Concerto No. 12 in E-Flat Major: II. Largo
36. Concerto No. 12 in E-Flat Major: III. Allegro
Luigi Boccherini a réussi ce paradoxe d’apparaître clairement, aux yeux de ses contemporains, comme le parangon du violoncelliste virtuose, original et moderne, et, en même temps, de s’entourer de mystère quant à sa production pour son instrument favori lorsqu’il le traite en soliste.
Nous sommes très précisément renseignés sur la manière dont Boccherini traite le violoncelle dans la texture du trio, du quatuor ou du quintette tout au long des quelque quatre cents ouvrages dont il a enrichi le répertoire de musique de chambre entre 1760 et 1804. Mais lorsqu’il s’agit des sonates et concertos pour violoncelle, et malgré faits, témoignages et documents, l’historien du XXe siècle ne peut que poser des questions sans pouvoir apporter de réponses nettes jusqu’à présent.
Tout se passe comme si Boccherini avait voulu se réserver un domaine privilégié qu’il savait exploiter pour étonner, séduire et charmer les musiciens et amateurs du XVIIIe siècle, tout en assurant ainsi l’originalité et l’éclat de sa carrière.
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