Nicolet plays Devienne

Aurèle Nicolet, flute
Christiane Nicolet, second flute
Netherlands Chamber Orchestra
Antoni Ros-Marbá, condutor

François Devienne: Symphonie Concertante in G for two flutes, op. 76
Devienne: Flute Concerto No. 7 in e minor

Back when Jean-Pierre Rampal was breaking all known speed records, Aurèle Nicolet was calmly setting the standard for musicianship. His performances were never less than perfect. Here he gives us a couple of works by France’s most celebrated flute virtuoso of the latter eighteenth century.


Nicolet plays Devienne
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The Chamber Music Society of Lincoln Center, live 1982

The Emerson Quartet
Walter Trampler, second viola

Wolfgang Mozart: String Quintet in g, K. 516
Ludwig van Beethoven: String Quartet in C, op. 59/3, “Rasumovsky”
George Crumb: Vox balaenae (Voice of the Whale)

For many decades now, the CMSLC has been a somewhat fluid group of musicians, originally all members of the New York Philharmonic, that the Lincoln Center draws from each season to perform chamber works involving a wide range of instruments. This evening, most likely from the 1982 season, assembled five strings, a flute, and a piano to present one piece each from the eighteenth, nineteenth, and twentieth centuries, all surprisingly well suited to each other.

aircheck 27 April 1983 2100h KUSC-FM, Los Angeles
(Por si la palabra «aircheck» no se traduce bien, sabed que significa una grabación sacada de la radio, a veces de un evento difundido en vivo, más comúnmente de un evento grabado en vivo para emitirse otro día. De costumbre los airchecks se identifican por las siglas de la radiodifusora y la fecha de emisión.)


Emerson Quartet at Lincoln Center
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Joseph Haydn: The Seven Last Words of Christ on the Cross

The Kuijken String Quartet live 31 March 1994

Sigiswald Kuijken, violin
François Fernández, violin
Marleen Thiers, viola
Wieland Kuijken, cello

Introduzione
Sonata I: Pater, dimitte illis, quia nesciunt quid faciunt.
Sonata II: Hodie mecum eris in Paradiso.
Sonata III: Mulier, ecce filius tuus.
Sonata IV: Deus meus, Deus meus, ut quid dereliquisti me?
Sonata V: Sitio.
Sonata VI: Consummatum est.
Sonata VII: In manus tuas, Domine, commendo Spiritum meum.
Il terremoto

The Kuijkens have always had an unerring sense of repertoire. This unusual piece, seventy-eight minutes long, is more than some overgrown string quartet and more than sacred program music; true to its subject, the work is both somber and mystical. A brilliant performance at the Dorking Halls in Dorking, Surrey. Recorded by the BBC.


Haydn: The Seven Last Words
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Haydn: Symphonies 26, 52, and 53

Symphony #26 in d, “Lamentatione”
Symphony #52 in c
Symphony #53 in D, “Imperial”

La Petite Bande
Sigiswald Kuijken, director

Period instruments, authentic performance-practice, and Saint Sigi: Haydn at his finest. Recorded at the Doopsgezinde Semeentekerk, Haarlem, March 1988.


Haydn Symphonies 26, 52, 53
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Frans Brüggen and the Minnesota Orchestra, 1 May 1985

Rameau: Suite from Dardanus (arranged by Brüggen)
J. S. Bach: Concerto for recorder and orchestra (arranged by Brüggen)
C.P.E. Bach: Symphony in D
Haydn: Symphony #88 in G

Live aircheck of a performance in St. Paul, Minnesota, during which Brüggen got a modern orchestra to sound like an eighteenth-century one. (Two weeks after this performance, he was in Sydney, Australia, getting their orchestra to do the same thing.) An interesting concert on many levels, not the least of which being Brüggen’s own transcriptions. The concerto here is an arrangement of a harpsichord concerto in which Brüggen served as both soloist and conductor. A twelve-minute interview with Brüggen discussing the motive behind these concerts, which originally aired during the intermission, is included at the end of this archive.

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Brüggen in concert 1 May 1985
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Mozart pianoforte Badura-Skoda

With his unusual combination of musicology, museology, and performance, Paul Badura-Skoda kicked the original-instruments movement into overdrive so fast that his competitors felt it necessary to disparage his playing. There is nothing wrong with his playing in this recording, in which we hear rare pieces he found performed on a period instrument he owns.


Badura-Skoda plays Mozart
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Fantasias: Colin Tilney, clavichord

J. S. Bach: Chromatic Fantasia and Fugue in d
C.P.E. Bach: Fantasia in c, Fantasia in C
W. F. Bach: Fantasia in d
C.P.E. Bach: Fantasia in C
Mozart: Fantasia in d

Tilney took Ralph Kirkpatrick's advocacy for obsolete instruments one step further by promoting the use of original instruments. This recording, from 1976, was performed on a clavichord from 1742 in the collection of the Museum für Hamburgische Geschichte. The program is interesting in that it gives representative examples of a loose compositional form from its inception in the Baroque to the Classical.

Fantasias for clavichord
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Claudio Arrau plays Beethoven: Sontas #3 and #8 ("Pathétique")

Sonata #3 for piano in C, op. 2/3
Sonata #8 for piano in c, op. 13, "Pathétique"

Digitally mastered, 1987. Arrau recorded the Beethoven sonatas several times throughout his life. He lived long enough so that his final recordings took advantage of the new digital technology. From his old age, Arrau left us with the insight that one of Beethoven's earliest and overlooked works can be every bit as interesting as the most famous nicknamed sonatas.

Arrau Beethoven 3 and 8
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