Interview with Paul Hindemith on his recording of the Symphony 'Mathis der Maler'
Sacrae Symphoniae: Virtute magna
Sacrae Symphoniae: No. 15: Sonata octavi toni for 12 parts
Sacrae Symphoniae: Nunc dimittis
La favola d'Orfeo, opera, SV 318: Prologue
La favola d'Orfeo, opera, SV 318: Act 1. Pastore
La favola d'Orfeo, opera, SV 318: Act 1. Lasciate i monti
La favola d'Orfeo, opera, SV 318: Act 1. Rosa del ciel
La favola d'Orfeo, opera, SV 318: Act 1. Ma s'il nostro gioir
La favola d'Orfeo, opera, SV 318: Act 2. Sinfonia
La favola d'Orfeo, opera, SV 318: Act 2. Mira che sé n'alletta - Dunque da degni, Orfeo
La favola d'Orfeo, opera, SV 318: Act 2. Ritornello - Vi ricorda o bosch'ombrosi
La favola d'Orfeo, opera, SV 318: Act 2. Ahi, caso acerbo - In un fiorito prato
La favola d'Orfeo, opera, SV 318: Act 2. Tu se' morta
La favola d'Orfeo, opera, SV 318: Act 2. Ahi caso acerbo
La favola d'Orfeo, opera, SV 318: Act 2. Chi ne consola, ahi lassi?
La favola d'Orfeo, opera, SV 318: Act 2. Ahi caso acerbo
Track Listings (17) - Disc #2
La favola d'Orfeo, opera, SV 318: Act 3. [Part 1]
La favola d'Orfeo, opera, SV 318: Act 3. O tu ch'innanzi morte
La favola d'Orfeo, opera, SV 318: Act 3. Possente Spirto
La favola d'Orfeo, opera, SV 318: Act 3. Ben mi lusinga
La favola d'Orfeo, opera, SV 318: Act 3. Ei dorme
La favola d'Orfeo, opera, SV 318: Act 3. Nulla inpressa per huom
La favola d'Orfeo, opera, SV 318: Act 4. [Part 1]
La favola d'Orfeo, opera, SV 318: Act 4. Benché severo
La favola d'Orfeo, opera, SV 318: Act 4. O degli abitator
La favola d'Orfeo, opera, SV 318: Act 4. Pietade oggi ed Amore
La favola d'Orfeo, opera, SV 318: Act 4. Ritornello. Qual honor di te
La favola d'Orfeo, opera, SV 318: Act 4. Ahi, vista troppo dolce
La favola d'Orfeo, opera, SV 318: Act 4. Sinfonia
La favola d'Orfeo, opera, SV 318: Act 5. Ritornello
La favola d'Orfeo, opera, SV 318: Act 5. Sinfonia
La favola d'Orfeo, opera, SV 318: Act 5. Ritornello
La favola d'Orfeo, opera, SV 318: Act 5. Moresca
Claudio Monteverdi's Orfeo, premiered in February 1607, is the oldest opera still in repertoire today. The work fell into oblivion for more than three centuries, and it was only in 1927 that the first printed score was rep... more »rinted in a facsimile edition but while the score gave fairly clear directions to vocalists, it lacked specificity in notating the instrumental parts, leaving many vital choices, incuding what instruments to use, up to the performers. A number of late-Romantic versions followed, but it was only in 1943 that Paul Hindemith published his thoroughly researched score which attempted to reconstruct the style and instrumentation of Monteverdi s first performance. Hindemith premiered his version in the USA during the years he spent at Yale; this Viennese performance was its European premiere. For it, Hindemith assembled young players interested in authentic performances of early music (among them string players Nikolaus Harnoncourt and Paul Angerer, harpsichordist Anton Heiller, and oboist Karl Mayrhofer) and borrowed ancient instruments from numerous private collections. Harnoncourt later recalled: This performances affected me like a lightning bolt!, launching his own early music performing carreer and the formation of his ensemble Concentus Musicus .« less
Claudio Monteverdi's Orfeo, premiered in February 1607, is the oldest opera still in repertoire today. The work fell into oblivion for more than three centuries, and it was only in 1927 that the first printed score was reprinted in a facsimile edition but while the score gave fairly clear directions to vocalists, it lacked specificity in notating the instrumental parts, leaving many vital choices, incuding what instruments to use, up to the performers. A number of late-Romantic versions followed, but it was only in 1943 that Paul Hindemith published his thoroughly researched score which attempted to reconstruct the style and instrumentation of Monteverdi s first performance. Hindemith premiered his version in the USA during the years he spent at Yale; this Viennese performance was its European premiere. For it, Hindemith assembled young players interested in authentic performances of early music (among them string players Nikolaus Harnoncourt and Paul Angerer, harpsichordist Anton Heiller, and oboist Karl Mayrhofer) and borrowed ancient instruments from numerous private collections. Harnoncourt later recalled: This performances affected me like a lightning bolt!, launching his own early music performing carreer and the formation of his ensemble Concentus Musicus .